The D65 series have been exhibited in: Casino Luxemburg, Luxemburg (2011), Second Room, Antwerpen (2012), Art Brussels (2013), Mise en doute, Brussels (2013), Elaine Levy Project, Brussels (2014), La Centrale for Contemporary Art, Brussels (2014), Maison Grégoire, Brussels (2014) and The White House Gallery, Lovenjoel (2015), every time using a special artificial illumination system.
Set of drawing instruments used in the D65 Series
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Working on D65 #1 at the Jan van Eyck Academie in 2011
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An interview in Casino Luxembourg in 2011
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Working on D65 #6.1 in Brussels in 2013
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The D65 Series is a set of 9 large algorithmic paintings made by hand with precision drawing tools, pencil and pigments on paper between 2011 and 2014. Each piece is the product of a study related to light, color mixture and color management. The topics studied are ordered by sub-categories 1 to 7:
#1 – exhaustion and equivalence of colors
#2 – one-dimensional gradients and invisibility
#3 – transparency, appearance of light and spectra
#4 – bi-dimensional color gradiens
#5 – colorspace sections studies
#6 – large colorspace sections and pigments gamut study
#7 – spectra and light spots, paint VS inkjet
“D65” is the name of a physical model for daylight, published by the Commission Internationale de l’Eclairage (CIE). Every drawing of the series is calibrated to be illuminated by daylight simulators such as Normlicht 965 fluorescent tubes, or by Belgian Daylight, which is very similar to the CIE standard. The latest standard has been published in 2006 by the CIE:
CIE standard illuminant D65
This is intended to represent average daylight. CIE standard illuminant D65 should be used in all colorimetric calculations requiring representative daylight, unless there are specific reasons for using a different illuminant. Variations in the relative spectral power distribution of daylight are known to occur, particularly in the ultraviolet spectral region, as a function of season, time of day, and geographic location. However, CIE standard illuminant D65 should be used pending the availability of additional information on these variations.
Source : http://cie.co.at/index.php?i_ca_id=484
#1 – Color exhaustion and equivalences, 2011
Pigments and pencil on paper, 160 x 110 cm
courtesy the artist
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#2 – Gradients / invisibility, 2012
Pigments and pencil on paper, 160 x 110 cm
courtesy the artist
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#3 – Transparency / appearance of light / spectra, 2012
UV Inkjet, pigments and pencil on paper, 160 x 115 cm
private collection
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#4, four solutions, 2013
Pigments and pencil on paper, 114 x 115 cm
courtesy the artist
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#5.1 – Colorspace sections, 2013
Pigments and pencil on paper, 110 x 160 cm
private collection
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#5.2 – Colorspace sections, 2014
Pigments and pencil on paper, 160 x 110 cm
courtesy the artist
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#6.1 – Gamut at 50% reflectance, 2013
Pigments and pencil on paper, 160 x 120 cm
courtesy the artist
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#6.2 – Gamut at 75% reflectance, 2013
Pigments and pencil on paper, 160 x 120 cm
courtesy the artist
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#7 – Spectra & Light spots, Painting VS Inkjet, 2014
Pigments and pencil on paper, water-based inkjet on canvas and staples, 160 x 120 cm
courtesy the artist
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