Colour channelling is based on the principle of free-thought colour application, set within a linear design matrix.
- A border ‘seals’ the picture from interference from subconscious external links
- Only 12 distinct colours are used
- No colour is seen adjacent to itself
- Bridging lines are allowed but with firm borders
- All infill lines are freehand except for ‘tracks’ where guides are used
- The picture begins, then naturally expands - since each colour requires a ‘reformation of the solid’ - until such time as the work ends.
Jim follows the key principles, theories and work of 3 groups of artists that he has termed the colourists, the non-formists and the reductionists
- Colourists – those artists whose goal was to create a sense of passion and release for viewer and painter through the use of colour; regardless of form: Peter Blake, Piet Mondrian, Frank Stella, Hans Hoffman, Otto Freundlich, Josef Albers, Sonia Delauney, Sean Scully.
- Non-formists – those artists whose main aim was to construct technically complex works requiring draughtsmanship coupled with colour linkage but not specifically focussed on the subject: Kurt Schwitters, George Braque, Joan Miro, Jean Debuffet.
- Reductionists – those artists where the journey from the beginning of a work to the end was as a direct result of the need to reduce or even dismiss the conventional views on colour application and external stimuli: Jackson Pollock, Wassily Kandinsky, Francis Picabia, Max Ernst.
The main strength and common denominator of all the artists featured is that they were all driven by colour abstraction, reflection and contradiction. The work was often created despite warnings, threats, entreaties and derision.
The physical means and the technical advances occurring in times they all lived had a major bearing on their work however Jim is interested in the fixed and driven manner in which the artists carried out their work.