KLEUREYCK. VAN EYCK’S COLOUR IN DESIGN (2019 - 2020)
KLEUREYCK. VAN EYCK’S
COLOUR IN DESIGN
KLEUREYCK DESIGN MUSEUM
MAR 13 2019 - FEB 21 2020
Linking the past with the present, ‘kleureyck: Van Eyck’s colors in Design’ was inspired by Jan Van Eyck’s brilliant use of color. The curators intended to explore and assimilate the use of how contemporary designers use color in their designs and practice, with the old Flemish master. Van Eyck’s skillful use of color was revealed in all its superb glory after the restoration of the ‘ghent altarpiece’, a large polyptych altarpiece from the 15th-century located in St Bavo’s cathedral in Ghent. Van Eyck used oils and transparent, colored glazes to achieve an innovative variety of colour and clarity in his paintings.
Bringing together over 100 pieces by flemish and international designers, the three-part exhibition explored how light, materials, and patterns have an effect on color. Titled ‘pigment walk’, the first episode took visitors for a walk through color, where objects from almost all areas of design, including product design, textile design, ceramics and glass art could be found. The projects on this walk were all examples of a creative use of color, where designers experimented with color and light, material, textile patterns, technique and space. For this section of the exhibition the curators selected a mix of established artists and young, emerging talent including Muller van Severen, Anton Alvarez, Nendo, Sigve Knutson, Ronan & Erwan Bouroullec, and Stéphane Mouflette.
"Bringing together over 100 pieces by flemish and international designers, the three-part exhibition explored how light, materials, and patterns have an effect on color"
The line-up is supplemented with designs from the museum’s own collection by Ettore Sottsass, Wim Goes, Sophie Rowley, Wieki Somers and Barbara Nanning.
The second chapter included a series of research projects, where the innovative role that designers play in color research is highlighted. Different in-depth research projects answer deceptively simple questions, such as ‘where does color come from?’, ‘how do you create color?’, or ‘how does color psychology work?’.
The 18th-century rooms’ at the museum’s entrance was transformed into the thir and final part of the exhibition: eleven ‘experience rooms’. Designers were each assigned a room to examine color in relation to our senses, fully immersing visitors in an experience that combines taste, sight, hearing, and touch. ‘Colourful Kinaesthesia’ by Mischer’ Traxler and Boisbuchet was the result of a workshop with artefacts on how color can change and create emotions, among other innovative interactive color experiences.