chronochromie

Chronochromie approaches painting as an event. Its pigments and materials transform through time: colours darken, pigments oxidise, materials blacken. Each painting carries its own becoming within itself, unfolding across years, centuries, and potentially millennia.

The black monochrome appears as a possible final state, inscribed within the material process. The works make time perceptible as an active force within matter. Each creates its own relation between time and colour, embracing transformations long regarded as errors or failures in painting.
The titles anticipate this becoming. Black Latency, Black Glow, and Black White name a future already contained within the materials. Even white is already named as black. Language reaches ahead of the painting’s visible state.

Presented together, the chromatic strata act like a score: a slow effacement of colour, an elegy toward black. Their proportions relate to human perception rather than measurable duration.
A proximity to photography emerges. While photography retains an instant, Chronochromie retains duration. Where photography states “that has been,” the chronochromic image states “that will have been.”
Past, present, and future coexist within the work. Conceived from the perspective of its own end, painting becomes a material process of becoming and disappearance.