CHROMOPHILIA loving colours

CHROMOPHILIA loving colours

The concept is developed by by Joanna Bodzek, MA in Textiles

for Fashion,

The project is developed by an international team including

Valentina Culatti, MA in Multimedia Content Design and

Giovanna Paternò di Sessa, Degree and Specialization in

History of Art and MA in Journalism.

and many other artist and devoted colour lovers contributing

along the way.

blue_logo

COLOURColour as an indicator of social mood,

environment and culture, has significant

commercial implications. Different colour

palettes can be attributed to different SOCIO-

CULTURAL areas and fashions STYLES.

Colour trends are very perceptibly

RECOGNIZABLE, and they fuse indelibly to

areas of products and fashions.

Forecasting: is the process of estimation in unknown situations. 1

CHROMOphilia Is an ART CONCEPT focused on the role that

COLOUR plays in ARTs and fashion. The main

goal of the project was to make people aware of

colour forecasting mechanisms while developing a

whole new approach to colour in fashion.

The name CHROMOPHILIA is adapted from

David Batchelors book CHROMOPHOBIA. This

book is concerned with corruption or rather

contamination through colour (chromophobia) and

its modern and contemporary manifestations as well

as with resistance to it in art.

A CHROMSAPIENS is someone who has a

conscious relationship with colours and who is able

to use colour in a pro-active way, (i.e. colours that

support wellbeing)

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Wardrobe of a CHROMOSAPIENS, instalation, London 3

The first part of the project, called CHROMOSERCH, is a research aimed to collect all the information on the topic.

The second, CHROMOSINTHESIS, is the development of particular holistic approach to colour.

The third, called CHROMOPHILIA, is a new concept based label and art company.

The initial idea of the project Chromo consists of three parts.

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Research – CHROMOSEARCH

In order to answer these questions we

want to develop a research on colour,

investigating on three levels of

understanding:

1. Individual: colour in relation to

man

2. Collective:colour in relation to

society

3. Environmental: colour in relation

to natur

The research consists in collecting a

complete documentation on the topic

exploring different areas (colour in

literature, in visual art, in design, etc.)

and different approaches (physical,

psychological, economic, social),

creating a dialogue with experts.

The starting queries for every aspect is:

relation to colour,

lack of colour,

use of certain colour,

fear of colour.

The focus is on man’s REACTION to

colour.

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As the means for CHROMOSERCH for

trends and events we are using

combinatnation of BLOG and CHROMO Q.

Blog is active shared space where the chromo-

community can post and comment views on

colour senses. It consists of collecting a

complete documentation on the topic

exploring different areas (colour in literature,

in visual art, in design, etc.) and different

approaches (physical, psychological,

economic, social), creating a dialogue with

people who are interested in this subject.

Opposite page: CHROMOBLOG created and designed by Riccardo Giraldi, responsible editor Vallentina Cullati, blog has attracted interest from, among others, Colour Lovers a giant colour blog from USA and from Swedish NCS (natural colour systems).

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Initial visual experiments.

We have designed a questionnaire, called CHROMO-Q, as a means to gather

information about mechanisms and what has power to and impact to influence public

choices in choosing colours in fashion. The questionnaire is related to topics of colour forecasting as well as colour theory view on colour. This has helped us to collect data on

questions like:

What does determine colour trends?

What are the elements that influence the choice?

Are people aware of these mechanisms?in relation to areas

Emotional – Personal

Are they?Physic – Psychological

Economic – Social

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Style: Conformity to a recognized standard; manner which is deemed elegant and appropriate, especially in social demeanor. 9

Colour scale from CHROMO Q-estionary. Opposite page: Poem What is Pink? by Christina Rossetti

What is pink? a rose is pink

By the fountain's brink.

What is red? a poppy's red

In its barley bed.

What is blue? the sky is blue

Where the clouds float thro'.

What is white? a swan is white

Sailing in the light.

What is yellow? pears are yellow,

Rich and ripe and mellow.

What is green? the grass is green,

With small flowers between.

What is violet? clouds are violet

In the summer twilight.

What is orange? why, an orange,

Just an orange!

CHROMOSYNTHESIS

This body of investigating work will give us the key to develop a new level of understanding, that

we would call holistic, with focus on how an informed use of colour can support a growth

on the three levels:

1. Individual: Physical and spiritual growth

2. Collective: Cultural, economic, social and technological growth3. Environmental:

Environmental growth

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What is pink? a rose is pink

By the fountain's brink.

What is red? a poppy's red

In its barley bed.

What is blue? the sky is blue

Where the clouds float thro'.

What is white? a swan is white

Sailing in the light.

What is yellow? pears are yellow,

Rich and ripe and mellow.

What is green? the grass is green,

With small flowers between.

What is violet? clouds are violet

In the summer twilight.

What is orange? why, an orange,

Just an orange! 11

important moment of documenting the work... 12

Goal – CHROMOPHILIA

This holistic approach to colour will be the

leading guide of a new concept based brand

(CHROMOPHILIA) that will be not only a

fashion label but also an art project.

The holistic approach will be detailed in an

experimental “USER MANUAL”,

containing all the tips and tricks for reacting

to the traditional trends and colour

forecasting and being proactive in the use of

colour.

CHROMOSAPIENS

are people who wear Colours consciously and in

so doing they become CREATORS of their

moods and experiences.

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Design of visual identity and packaging of CHROMOWEAR14

Results from the Q_UESTIONNAIRE and from CHROMO BLOG became an inspiration for the packaging of CHROMO WEAR, visual identity and communication design.

Design strategy became simply a visual dialogue: to visually present our ideas and then process and incorporate responses from the public into a design process.

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Thanks to KULTUR FÄRG for helping in the production of packaging.

We have observed that garments in strong vivid and bright colours

were more popular among men then

women and among women

with strong self-esteem with

good income independent of

occupation.

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CHROMOWEAR , the RELEASE of the conceptual Colour Collection, showcase and sold in Old Town shop in Stockholm. Accompany by readings from the COLOUR MANUAL, a guide to alternative use of COLOUR in everyday life, especially designed for CHROMOSAPIENS.

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The feeling for things themselves, for reality, is more important than the feeling for the picture. (Vincent van Gogh)

We are manufacturing emotions and good vibrations. (chromophilia)

Our full range of emotions is our palette with which we bring color to our lives. (Anne Copeland)

Blue is the male principle, stern and spiritual. Yellow the female principle, gentle, cheerful and sensual. Red is matter, brutal and heavy and always the colour which must be fought and vanquished by the other two. /Franz Marc

Colour on the INSIDE. Women in general reported that they would rather wear colour close to the skin than in garment that are fully visible.

Mainly two reasons were given, insecurity in choosing the right colour (reason: personal) and feeling of inadequacy while wearing colour at work (reason:economic/ social). Women working in creative field were clearly more positive to use

colour as a tool to improve well-being.18

We are manufacturing emotions and good vibrations. (chromophilia)

Blue is the male principle, stern and spiritual. Yellow the female principle, gentle, cheerful and sensual. Red is matter, brutal and heavy and always the colour which must be fought and vanquished by the other two. /Franz Marc

Colour on the INSIDE. Women in general reported that they would rather wear colour close to the skin than in garment that are fully visible.

Mainly two reasons were given, insecurity in choosing the right colour (reason: personal) and feeling of inadequacy while wearing colour at work (reason:economic/ social). Women working in creative field were clearly more positive to use

colour as a tool to improve well-being.19

Graphic design and Communication

Graphic design has become a vital part and a COMMUNICATION tool of the conceptbehind the CHROMOWEAR collection. The message that is conveyed here is that of wearing a colour

instead of wearing a garment.We are selling "good vibes", "moments of stability", "energy restorers", "pure comprehension", "conflict free areas":

not garments or textiles. Joanna Bodzek and Richardo Giraldi have developed the visual identity of the project.

CHROMOPHILIA logo, design: Joanna Bodzek, since 2007 Chromhilia is a registere trademark.

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Labels design: Joanna Bodzek. 21

To publish the CHROMOMANUAL in connection with the collection was an important step in the work against colour forecasting, giving voice to the colour theory instead, this added extra dimension to the artwork and became artwork itself.

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Results of the carried out research has brought to our attention that, pure clear colours are associated with primary instincts, similarly as in nature they denote fear, danger, sex, warning. Children and the male population prefer clear colours while women generally are attracted towards softer pastels.This research also showed that majority of the women would find the concept of wearing “colours” as an undergarment appealing and exciting. For some, Colours also showed having a sensual connotation. We have exploited above ideas in a video installation "CHROMOtions"

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I became intrigued with colour theory. The absurd pronouncements of the Colour Institute, a group that decides what colours are hot each year or season, amused me. /John Barton

Video installation "CHROMOtions. Creative idea: Joanna Bodzek. Photo: Christofer Rus 25

I have been fascinated by Synesthesia and this has influenced, and still does, large part oh the visual experimental work by CHROMOPHILIA.

This search for colour choosing mechanisms, trends and emotional responses to colour

brought us unexpectedly to the

world of performance art where

CHROMOPHILIA was presented in June

2008 at the International

Performance Festival “Frictions” in Uppsala

Art Museum in Sweden.

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Monastery of colour

Leading up to this performance was the events

when I came in contact with OLGA

SZWAJGIER, the world-class soprano and

creator of the unique voice compass widening

method, which has extended her voice range

from four to six octaves and can sing to the

limits of hearing. I was attending her

workshops both in Poland and in Sweden. This

meeting introduced a series of more

EXPERIMENTAL WORKS and a NEW

DIRECTION for the project.

Below is an excerpt from an article published

on the CHROMO-blog, outlining Olga´s main

ideas about colour and sound:

"Mrs Szwajgier that is a Distinguished

Lecturer at the Ludwik Solski State School of

Drama in Cracow sings sounds as colours.

According to Olga we can sing a certain

vowel/consonant and see a related colour. And

she only teaches after she has experimented

many times, again and again.

This is the core meaning of her teaching; she

sings a note focusing on the colour related to

each consonant, hence Olga sings in colours. It

is great fun and, most importantly, it unlocks

unexpected voice resources even in such an

unmusical person as I thought I was.

She sang again, this time it was the vowel E

connected to the throat chakra and the hues of

Blue, it was to regenerate this energy centre

related to communication.

She produced a “faulty” noise, while she

imagined a blue colour surrounding and

entering her body, her voice changed

dramatically becoming a soft heavenly sound

as she kept on singing.

Then she focused on other characteristics

related to the consonants.

For example violet and the vowel I,

regenerate the pituitary gland positioned at the

base of the brain, and this has revitalising

impact on all other endocrine glands of our

bodies.

The vowel U is connected to kidneys

(strengthening them while singing), it helps to

reach and sing from your underbelly and access

energy emanating from there. The generated

sound will then resonate in the whole body.

Y is connected to the colour of Fuchsia, which

is to be visualised while singing it.

Singing the vowels on certain frequencies is

cleansing and energising the body centres.

Frequencies of tones at 440 hertz are used by

world philharmonic orchestras to tune their

instruments. This frequency is also present in

all electrons in our atoms. If this tuning tone

were played for longer period of time, in that

very frequency, musicians would considerably

energise themselves, audiences and the world.

“You can definitely boost your energy by

using your voice in that way” she said.

She talked about Fabien Mamen, a musician

who, in co-operation with a scientist, is

performing experiments on cancer cells in

laboratory settings. When cancer cells were

subjected to certain tones and vibrations the

researchers witness a remarkable healing

processes caused by the sounds.

Olga added that Beethoven, while composing

his music, had said that a “settima “ (half tone

less then an octave) will change the world and

that he had understood the power of sound on

a grand scale.

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Together with musitians Pär Wedin we have explored visual and musical expressions of combination of COLOUR and SOUND.28

Pär Wedin, sound and colour composition. 29

A man should hear a little music, read a little poetry, and see a fine picture every day of his life, in order that worldly cares may not obliterate the sense of the beautiful which God has implanted in the human soul.

/ Goethe

Public at Uppsala Art Performance Festival30

Article from Uppsala Art Museum catologue. 31

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CHROMOSEARCH looks at Synesthesia.

Contradictory ideas about Synesthesia has been found by researchers, it is for example now assumed that Synesthesia is very rear among the male

population. It is also known that the colour reaction to a sound is very personal and it is not changing within an experience of the same person, this is to say that a

person will always associate the same sound with the same colour. I have been fascinated by this phenomenon and it has influenced large part

oh the visual experimental part of the CHROMOPHILIA works.

Around 19 century Synesthesia, the ability to connect sound to colour seemed to have caused wide interest among musicians artist and poets.

At the beginning of 20 century Paris not to have this ability was equal with belonging to B-class of artists so, according to modern research on

Synesthesia, some artist would ...simply fake this ability.One of the artists suspected later for not having but pretending to “suffer”

from Synesthesia was Baudelaire.

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Why do two colours, put one next to the other, sing? Can one really explain this? no. Just as one can never learn how to paint. /Picasso

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Why do two colours, put one next to the other, sing? Can one really explain this? no. Just as one can never learn how to paint. /Picasso

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Chromo Q questionnaire brought to our attention the fact that almost 80% of young people( 15 to 20 years old), students who completed the research, has connected specific colours to corresponding sounds or at least have used sound related vocabulary to more adequately and vividly describe colours.

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Audio CD MONASTERY OF COLOUR, Icreative idea Joanna Bodzek, music and production Pär Wedin 37

Images from video installation "Orchestrating Colours". Idea, photo, production: Joanna Bodzek. Sound, Pär Wedin.

BLUE, which most modern psychologists, has identified as the most widely preferred colour among Europeans, is held

to be concentric, passive, sensitive, perceptive, unifying, and so on, and thus to express tranquillity, tenderness,

and 'love and affection'.

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It seems to me the aesthetics of colour have developed very littleduring this century precisely because they have been to exclusively concerned withlaboratory testing, and too little with colour-preferences as expressed in the practical choices ofeveryday life.

/ John Gage in "Colour and meaning"

Green--mmmm

black -ooooo

Blue-ahhh

silver-brrrr

Gold-uuuuu

brown-lllllllu

Pink-fuuuuu

indigo (blue/ violet)-fiiiii

White-sszzzz

red-haaaaa

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Tone C is called “green note” (as Schubert used to describe it) because it enhances the growth of vegetation during spring. This frequency is present in a bird’s song.

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All images from video installation "EMOTIONS". Idea, photo, production: Joanna Bodzek. Sound, Pär Wedin.

RED AS REMEDYIn England Scarlet clothes were

used to stop bleeding, the physician of Edward the II

directed that everything in the room should be red to thwart smallpox. Red was a popular treatment for these dieses. In

Ireland and Russia red flannel was a remedy for a scarlet

fever. On an Ireland of Karpatos a Greek priest would tie a red thread on the neck of

a sick person, the next day friends would remove the

thread and tie it to a three and thus transfer the illness to the

tree.Red wool cured sprains in

Scotland, sore throat in Ireland. Red sealing wax

prevented and cured eruptions. Red overcame nightmares in

Japan. In Macedonia red was protecting a newborn child. In

china wearing a Ruby would guarantee a long life. I many other countries for centuries Red stone was used to make

amulets for protection from evil as well as dieses.

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CHROMO WORKSHOP: Creativity Mobilization Trough Colour

“Art is the plank after the shipwreck, that saves someone…”—Constantin Brancusi

Another exciting project initiated by CHROMOPHILIA

started after I came in contact with Creativity Mobilisation

Technique and its view on healing aspects of colour.

That when why I decided to start a larger test group. Below

is an article and announcement published on the subject on

the CHROMOBLOG.

…It will be running from the middle of April 2007 and 6 weeks

onwards. The group will communicate by Skype, email and be

showing the progress via Flickr. Max 10 people will be couched this

pilot round and if you are interested email me at

joanna@chromophilia.eu for details and application form. The only

requirement to join this group is that you work in the creative field

and have access to the computer ☺.

I have come in contact with Creativity Mobilization and started to use

and experiment with it immediately on myself and a test group. Results

excided my expectations found the process more than interesting and

the results… fascinating! realising that this concept is very interesting

addition to include in CHROMOPHILIA.

A nonverbal process-oriented method involving work with brush,

paint, and paper that attempts to activate functions essential for

various types of creative activities. This method is based on the effects

of painting with carefully chosen colours in order to affect the

subconscious mind. This allows releasing projections and creative

blockages…it works and it’s fun.

Main intention of this technique is to access creative capacity by

“cleaning” disturbing influences during 6 to 8 weeks long process

divided in 4 main stages.

The participants needs lots of newspaper pages, 8 specified colours as

well as a private space where he /she can work undisturbed for about

half an hour 4 times a week. Then there are relatively easy rules to

follow and each painting will only take 2 minutes. The project

coordinators responsibility is mainly to control the correct

understanding of the method and all the aspects and to give continuous

information and feedback on different stages that participants are

entering. Participants are working autonomously painting and writing

short notes after each session to document the experiences and progress.

A study of this method was done as a subject of an MA course at

Stockholm’s Institute of Psychology. I have come in contact with it and

started to use and experiment with it immediately on myself and on a

mini test group realising that this concept is very interesting addition

to include in CHROMOPHILIA.

I found the process more than interesting and the results… fascinating!

The reading: Creativity mobilization technique / Wolfgang Luthe/

New York : Grune & Stratton, 1976

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2 minutes paintings by Natasha Kielan:

URDRAG UR ANTECKNINGARNA:

DAG 1:kändes monotont och lite meningslöst, alla blev lika som spybun röra. Försökte röra handen på olika sätt men tyckte att jag bara kom tillbaka till samma sträck.DAG 2: jobbigt att göra olika rörelser helatiden, jag råkade göra 16 st istället. Känns som att jag har slösat förmycket färg.

ANDRA VECKAN: Kändes bra, lättare, hade bättre klocka, lite jobbigt att sätta fast pappret så det inte åker runt. Det tog inte 45 min utan 40 idag konstigt.Dag 1kändes som tiden gick snabbare idag, det är lite svårt att ändra handens rörelser.Dag 2TRÖTT! glömde hålla koll på tiden ibland annars ok.

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A nonverbal process-oriented method involving work with brush, COLOUR, and paper that attempts to activate functions essential for various types of creative activities. 2 minutes painting by Natasha Kielan

Day 1I have started!

…I would like to have a paper of a larger format this would allow

for grater freedom in movement, or the brush is to big, no, no

the paper is to small I am more with the dance of the hand

rhythm, moment of the whole body than in what is developing in

the paper which is only a derivative of the movement,

RED with PURPLE, SHARP YELLOW with GREEN attracts

me most, not once I have used BROWN. God where all the

BROWN clothes in my wardrobe come from ???.I fill the pages

very quickly, chaos for me is not a problem, the structure is,

I love how all different shades of GREEN are evolving and ripen,

it gives me unsaid pleasure when I mix the Green shades with sharp yellow. Its real fun!!!!

Ewa Holuj, architect, Svensk Inredning

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A nonverbal process-oriented method involving work with brush, COLOUR, and paper that attempts to activate functions essential for various types of creative activities. 2 minutes painting by Natasha Kielan

Day 1I have started!

…I would like to have a paper of a larger format this would allow

for grater freedom in movement, or the brush is to big, no, no

the paper is to small I am more with the dance of the hand

rhythm, moment of the whole body than in what is developing in

the paper which is only a derivative of the movement,

RED with PURPLE, SHARP YELLOW with GREEN attracts

me most, not once I have used BROWN. God where all the

BROWN clothes in my wardrobe come from ???.I fill the pages

very quickly, chaos for me is not a problem, the structure is,

I love how all different shades of GREEN are evolving and ripen,

it gives me unsaid pleasure when I mix the Green shades with sharp yellow. Its real fun!!!!

Ewa Holuj, architect, Svensk Inredning

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"Everyone stands up when you come in. You wear a costume identifying you as, if not quite divine, someone special." / Irving R. Kaufman Irving R. Kaufman

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Costum and textile design for Cracs: Joanna Bodzek

CHROMO ON STAGE. April 2008 Dansens Hus, Stockholm

CHROMOPHILIA and SU-EN Butoch Company work together on costumes for Su_en Butoch Company stage piece called CRACS. We were working with colours as an independent dimension ofther performance.

"Extrema livsvillkor har ofta varit en utgångspunkt för SU-EN, som gärna låter kroppen pressas mot den autentiska smärtan eller stillheten, mot skönheten i den deformerade konturen. I Cracks varvas absurd humor med brutalitet och sensualitet.Föreställningen som hade premiär på Dansens Hus 3 april 2008 är skapad i samarbete med företaget Chromophilia, klädskaparen och färgforskaren Joanna Bodzek och färgerna fungerar här som ett självständigt sinne i rummet."

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CHROMOPHILIA Costium design for SuEn Butoh Company/Sweden, PHOTO GUNNAR STENING

But what of thirst,tell me the colour of thirst,

rainbow lips and tongueeyes devoid of hues.

Tell me the colour of dreams,the faceless gathering a picnic

in your own meandering mind,tints of every kind.

Ripe tomatoes red, blue feathers blue.

But what of truth,tell me the colour of truth,

the colour of trustof loveof painof hope

of touchof fear

of prayerof wrong of right.

Tell me the colour of words,the pigments of life

in the dark and the light.50

But what of thirst,tell me the colour of thirst,

rainbow lips and tongueeyes devoid of hues.

Tell me the colour of dreams,the faceless gathering a picnic

in your own meandering mind,tints of every kind.

Ripe tomatoes red, blue feathers blue.

But what of truth,tell me the colour of truth,

the colour of trustof loveof painof hope

of touchof fear

of prayerof wrong of right.

Tell me the colour of words,the pigments of life

in the dark and the light.51

Thanks to Konstnärsnämnden!

 

We would like to thank Konsnärsnämden for making it possible to develop

and see CHROMOPHILIA project becoming a reality for us and for the

public that has seen it. It has been such a learning curve for all of us an

resulted in artistic configurations and art works we would never imagine to

get involved in in the beginning of the project.

To get this funding was a very important step in the chromophilia project

and gave our self -confidence a push forward and as a result all involved

have definitely developed new creative sides! 

This economical base that the funding gave us has enabled us to realise our

dream, cooperate, learn, make mistakes and then make new improvements

and learn again.

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THANKS TO EVERYONE WHO DIRECTLY AND INDIRECTLY CONTRIBUTED TO CHROMOPHILIA AND THIS DOCUMENTATION.

Thanks to !

Konstnärsnämnden for the GOLDEN Cash that has been a stable and

absolute necessary base to grow the CHROMOPHILIA upon.

Royal College of Art in London for letting us access excellent resources for

research on a subject of colour. And especially to Neil Parkinson .

Thanks to VALENTINA who has worked like mad with developing and

maintaining the blog, writing and shaping its content even without much

support, it has now been spotted by Colour Lovers and the Colour spot. She is

also the woman behind the writing of the text in the book, fearlessly rewritten

in some parts by Joanna Bodzek.

Göran Bergström for his insightful and unstoppable support and advice.

Gosia Bodzek för working and helping with words and letters.

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© 2008 JOANNABODZEK

Supported by: