For FC 1, Klein hired two models
to act as his “brushes”. In the first step of the creative process, the models were doused with water and under Klein’s direction pressed themselves onto the large sheet of specially treated cardboard.
Once the models had left their positions,
Klein, using a large torch-like device, directed an intense flame toward the board, charring parts of the surface. Where the models had pressed against the surface, the moisture-soaked cardboard resisted the scorching effect of the flames, leaving ghostly apparitions of the bodies hovering on the picture plane.
“Where the models had pressed against the surface, the moisture-soaked cardboard resisted the scorching effect of the flames, leaving ghostly apparitions of the bodies”
Klein also used water
to create pictorial effects, interweaving splashes, spots and drips in the layers of the image. For the next step, the models coated themselves lightly with a subtle pink paint, which left delicate impressions of their breasts and thighs as they pressed against the surface of the board.
Finally, Klein instructed the models to apply a thicker coat of his IKB pigment to leave a last impression on the surface, while he enhanced their silhouettes by spraying both pink and blue pigment onto the work with an airbrush.
In this way, the work was created without any direct touch from the artist.
Monochrome und Feur © 2012 Yves Klein and Artists Rights Society (ARS), New York/ADAGP, Paris.
“In this way, the work was created without any direct touch from the artist”