Color Cue

This work will be projected on June 14 & 15, from 7-10pm, outside of El Museo Cultural de Santa Fe, in the Santa Fe Railyard, in conjunction with the Currents New Media Festival.

© Sarah Knobel
Allen Ruttenberg
Rio Rancho, NM 
Andy Mattern
Stillwater, OK 
Brenda Biondo
Manitou Springs, CO 
Catherine Roberts Leach
Santa Fe, NM 
David Ricci
Lee, MA 
Evgeniya Sterlyagova
Moscow, Russia 
Farras Abdelnour
New York, NY 
Gianmaria Gava
Vienna, Austria 
Gurudarshan Khalsa
Santa Fe, NM 
Kalee Appleton
Dallas, TX 
Laurinda Stockwell
Santa Fe, NM 
Matthew Ford
Santa Fe, NM 
Matthew Gamber
Worcester, MA 
Natalja Kent
Los Angeles, CA 
Peggy Curtis
Mill Creek, WA 
R.A. McBride
Brooklyn, NY 
Reid Harer
Roseville, MN 
Roger Camp
Seal Beach, CA 
Sarah Knobel
Potsdam, NY 
Shinya Masuda
Nakano-ku, Japan 
Stephanie C. Nnamani
 
Syl Arena
Morro Bay, CA 
Tom Turner
San Antonio, TX 
© 2018 CENTER

Color Cue: Artist's Statement

Tom Turner

The Color of Memory: Lunar Calendars

My research examines the importance of time to our perception of the landscape, while also considering the relationship of people to their environments. My video and photographic series, “The Color of Memory,” observes the elasticity of time and color, constructing a more arbitrary relationship between the two. The rearranging of color channels in multiple layered images illustrate the fracturing of our perception of color as a fixed entity and how time alters our understanding of the landscape. Misaligning the color plates within the images performs the same function as a prism, when refracting white light into the component colors, creating colorful ghosting where movement occurs. 

“The Color of Memory” contains distinct sections, consisting of still photographs as well as both single channel and multiple channel video installations. In the work “The Color of Memory: Lunar Calendars,” the third section of this series, I study depictions of lunar phases by fracturing the white moonlight into its component colors. Lunar calendars are depictions of the changing phases of the moon, and a lunar phase is determined by the portion of the moon illuminated by the sun from the perspective of the earth’s surface. The source imagery for “Lunar Calendars” is appropriated from space agencies around the world. The act of appropriation from publicly funded organizations like NASA reinforces a universal ownership of the celestial object orbiting the earth. “Lunar Calendars” creates vibrant depictions of the moon by creating distortions within the relationships of the between the various color channels of each of the moon’s phases.