“In the beginning, pure colour, the universal soul in which the human soul was bathing in a state of earthly paradise, was mastered by the invasion of the line, imprisoned, compartmentalized, cut apart, returned to slavery. In the joy and delirium of its guileful victory, line subjugated man and imprinted upon him its abstract rhythm.”
- Yves Klein
For his proposed film La guerre, Yves Klein declares color the victor in the historically entrenched debate over the supremacy of line vs. color. Playing the role of the villain, line is the oppressive force that imprisons color’s vitality. Elusive and unfettered, color not only trumps line in its purity, but embodies the true nature of the human soul. In Informal Forms, curator Noam Segal draws a parallel between Klein’s vision of color as the mercurial maverick and the boundary-breaking vigor of the abstract form. In the face of confinement, abstraction defies its borders, and in its transgression, defines its own. Segal writes, “The works shown in this exhibition challenge language and disrupt coherent categorical conception. They strive towards singularity, towards an inconstant gaze that presents each phenomenon in its own right.”
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