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拍品专文
The concept for the present work originates from a series of works that Frost began in the late 1960s.
'He (Frost) has described how, in the late 1960s, he asked his students to investigate the boundaries of colour by mixing different blacks. They used red, yellow and blue, gradually increasing the amount of one colour until it 'broke' through, then following the same process with each of the others. He told them to identify the colour they considered to be 'mid black'; the result was, he said, 'the greatest lesson of my life, when we put them up there wasn't one like the other. Now this means that colour is totally subjective.' Frost did the same thing, taking six large canvases, dividing them up into fifteen-by-nine-inch blocks, and painting each section a different black. He then cut out rough semicircles from each and collaged those onto a larger canvas. The result is a composition in which red-blacks, green-blacks and blue-blacks harmonise and contrast with each other, and in which the ground and space between them becomes an active component' (see C.Stephens, Terry Frost, London, 2000, pp. 61-62).
'He (Frost) has described how, in the late 1960s, he asked his students to investigate the boundaries of colour by mixing different blacks. They used red, yellow and blue, gradually increasing the amount of one colour until it 'broke' through, then following the same process with each of the others. He told them to identify the colour they considered to be 'mid black'; the result was, he said, 'the greatest lesson of my life, when we put them up there wasn't one like the other. Now this means that colour is totally subjective.' Frost did the same thing, taking six large canvases, dividing them up into fifteen-by-nine-inch blocks, and painting each section a different black. He then cut out rough semicircles from each and collaged those onto a larger canvas. The result is a composition in which red-blacks, green-blacks and blue-blacks harmonise and contrast with each other, and in which the ground and space between them becomes an active component' (see C.Stephens, Terry Frost, London, 2000, pp. 61-62).