Fiona Léus
Biografie
Biografie
TEXTE ZUR ARBEITEN VON FIONA LÉUS
PAINTINGS
Which colour gives us the blues?
Fiona Léus early paintings were figurative, using colour to represent areas of the body and the various energies inside that control well-being and lives. These colours later developed into fields of colour energy, representing nothing but themselves. The work continued with the concetration on the effects of colour.
The ‘Stripes’ paintings utilise the effect that colours have upon each other. The colours are vital and bright, preferably intoxicatingly so. Each colour's position on the canvas enables it to be seen more strongly and appreciated for its worth amongst the other colours. The stripes crystallise from the search for the best form to give the desired effect. The lines have a calm and rational influence on the paintings. However the colour combinations cannot be rationally grasped.
Fiona Léus early paintings were figurative, using colour to represent areas of the body and the various energies inside that control well-being and lives. These colours later developed into fields of colour energy, representing nothing but themselves. The work continued with the concetration on the effects of colour.
The ‘Stripes’ paintings utilise the effect that colours have upon each other. The colours are vital and bright, preferably intoxicatingly so. Each colour's position on the canvas enables it to be seen more strongly and appreciated for its worth amongst the other colours. The stripes crystallise from the search for the best form to give the desired effect. The lines have a calm and rational influence on the paintings. However the colour combinations cannot be rationally grasped.
Movement or space become visible in the lines. The eyes can concentrate on a particular colour or stripe but then discover its connection to other parts of the painting or to the whole, which causes a kind of playful, meditative concentration.
We cannot see radio waves, infrared, radioactivity or hordes of other energies that we know exist in and around us. We do not see smells, the warmth given off by a person near us, or viruses. What are these energies like that surround us daily, even passing through our bodies?
Apart from the colours themselves, the pictures also represent for Fiona Léus an idea of the movement of such energies.
Apart from the colours themselves, the pictures also represent for Fiona Léus an idea of the movement of such energies.
The chromatic fields of colour in the smaller works, the ‘Chromas’ are like a tele-zoom into areas of the stripe paintings.
These works are calmer, but glow with the strength of chosen tones.
These works are calmer, but glow with the strength of chosen tones.
GRAFISCHE ARBEITEN
Over the years Fiona Léus has worked with various grafic techniques. The C-Prints have been developed from her desire to bring images from her film works into daylight, instead of only being seen when projected as films in a darkend room.
She began to load individual frames from the Super 8 and 16 mm. films into the computer enabling her to create new compositions, a new visuel choreography.
She began to load individual frames from the Super 8 and 16 mm. films into the computer enabling her to create new compositions, a new visuel choreography.
The prints here are taken from some her Ballet films, shot during the rehearsals of the Forsythe Ballet in Frankfurt Main, over a period of a couple of years, but also from films made about swimmers.
The flower print is is every frame from the 13 second long Super 8 film loop called ‘Flower Portraits’.
The flower portraits were phographed in a country garden in Norwich, England. Each portrait is one frame and the images are ordered according to their colour.
The flower portraits were phographed in a country garden in Norwich, England. Each portrait is one frame and the images are ordered according to their colour.