Emotion and the Contemporary Museum by Candice P. Boyd & Rachel Hughes

Author:Candice P. Boyd & Rachel Hughes
Language: eng
Format: epub
ISBN: 9789811388835
Publisher: Springer Singapore

Colour and Media

The use of colour in the drawings demanded that we think carefully about colour in our analysis: For what reasons had participants decided to use colour, how had they used it, how did they talk about it when it came to narrating their work, did it relate to the museum’s use (or non-use) of colour? Drawing, of course, involves not just use of line and shape but colour, texture, and movement, the latter being an effect of sweep line, shadings, and colour that recedes or moves forwards in the image. For some participants, colour was an important part of encounter between objects, affects, their own and others’ bodies, light and voices and other sounds.

In the first instance, colour was used to represent the monotony—the monotones—of patients’ lives within institutional spaces. To a significant degree, the museum provokes this limited representational palette. Many areas of the museum are deliberately shadowed, while projected images appear in cool blues, blacks, and whites and the recreated rooms lack colour variation, with walls and objects in whites and creams, the brown of brown paper packages, metal grey. Drawing A19 (in Fig. 3.14) illustrates this dualism along colour lines: a patient is curtained by lines that grow from their own body in a world without colour, where ‘the long hair represents the “not possibility” to cure themselves in physical appearance [and] outside the psychiatric hospital there is colour [but] not inside’.

Fig. 3.14Colour-focussed drawings

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