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Kiyoshi Yamamoto Farias


Rio de janeiro

Birth year

Lives in

Works in


Bergen National Academy of the Arts, Department of Fine Art, Bergen, Norway, 2013, MA
Bergen National Academy of the Arts, Department of Fine Art, Bergen, Norway, 2013, MA

exhibition/performance, sculpture, abstract, photography, installation, mixed-media, weavin, art-textile, color theory

Get colorblind

Reactive paintings/sculptures.

My latest works in cotton canvas painted with textile reactive dyes, those paintings have taken a large place in my master study. 

The work can be seen as something between sculpture and painting, but also as
history-telling compositions. 

Using uncounted painting cotton canvas, spray boxes, Japanese painting brushes,
physical body activation and color-blind eyes to physically create a series of seven pieces.

Most of those paintings start as large sketch for digital tapestry, but during the process they become what they really are: Not a sketch and not a tapestry. 

The achievement has been a free material creation with a distinctive visual quality that is often extended to include the room (space). As a result, the works become both expansive and reserved. 

Robert Morris has said this about his work in carpet felt: “I wanted to find a way to
generate unpredictable, indeterminate consequences”. My works attend to this intention, as well as making contradictions. 

Color study is also an indispensable resource. It is strongly present as an element that provides a firm structure and establishes a further context in the work. Colorblindness is one of the contents that ascribe almost all the final color decisions. However the resistance and balance between materials, form, room and content are the focus that finalize the work. 

When the work is installed, the room (space) becomes one piece. The work itself need the space to reveal its final form, this also include how parts to relate to one another. 

In a sense the materials' (canvas, colors, eyes and space) depth and contour contradict with the constructions of forms. 

The raw color, the unprepared painting canvas and a relation to color theory create a
sensual aggressive negotiation between the viewer and the work itself. This can also open for a generation of contrast and abstraction. 




possible and impossible. 

The titles are always related to a type of colorblindness and social inclusion. Using these references I want to motivate the viewer to reflect on the use of color and the artistic context in their everyday life situation.

No painting or art has been made for the people who are colorblind (as a minority public). This theme relocates my work to a political and social responsible realm that maybe all contemporary art practice should contain. 

In “Paragraphs on Conceptual Art”, Sol LeWitt's “landmark” (text) work is a reference to my painting/sculpture work. The text from 1967 mentions color only twice, both times as
“expressive” and “perceptual”.  I have reused both of these words in my artistic practice. From LeWitt I learned that color mixture are not devised to please the eye but, as always, generated automatically, according to predetermined plan. From Anni and Josef Albers comes the lesson that color is relational; red looks different with blue than with yellow.
In both cases the use of the subjective as planning form, convert the opposition of the
irrational and the unexpected. LeWitt also says: “Conceptual art is not necessarily logical.. some ideas are logical in conception and illogical perceptually.” 

I want my paintings to be perceptual as well as conceptual, sensory as well as linguistic.
A painting for a colorblind person is a painting for everyone that can see color and physical material.

“ I never tried to arrange the color or the other forms to please the eye. In fact, I tried to use the system or randomness to avoid preconceived notion of aesthetic (Beauty) or other color statements...If it turns out to be beautiful, I don’t mind”  (Sol LeWitt)

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