Rendition of Impermanence - Graduation Research Document

Rendition of Impermanence

By Yvonne da Silva

0786054

Research submitted in partial fulfillment of the requirements for the degree of Bachelor of FineArts.

Willem de KooningAcademy

Rotterdam University ofApplied Sciences

June 2023

Aan mijn dierbare moeder, jouw ziel leeft voort als mijn inspiratiebron.

INTRODUCTION

Lake pigment is a type of colorant that is created by precipitating dyes onto a substrate, typically an inorganic material such as aluminium hydroxide. The resulting pigments are insoluble in water and have a characteristic texture and colour. I find the process of making lake pigments a very interesting, nuanced, and rewarding process. Although it is also interesting, lake pigments differ from pigments extracted from minerals, as there are more precise and mathematical chemical equations involved with lake pigments. Also as comes to lightfastness, organic pigments will always fade or change over time. While the fading of colours may seem like a negative outcome, it is also a necessary aspect of the beauty of colour. In the end, it is the interplay between light and darkness, between vibrancy and fading, that gives colour its depth and complexity.

In late June 2021, I began this research project primarily to grieve the loss of my late mother. The central focus of my study revolved around gathering flowers that blossomed in my local bio-region, capturing their essence, and capturing the transient nature they possessed.

Processingmaterialstomakemyowncolourpalettefrom thelandscapeisincrediblysatisfying on a deep and even instinctive level. Much of this satisfaction comes from the transformation processthat occurseachtimeIextractapigment.Byworkingwithrawmaterialsandobserving the specific characteristics, strengths, and limitations that are unique to the material I have learned to be receptive to the feedback that the raw materials give, they speak a language. This level of collaboration with the landscape is a way to help us remember that we are a part of their history and ecology and that we are not just guests.

The delicate balance between the earth, water, sun, and plants serves as a reminder that our actions can have profound consequences on the natural world. Recognizing the interdependence with the environment and all living organisms encourages me to act responsibly and foster a more harmonious relationship with nature.

PRACTICE COMPONENT OF PROJECT

Pigments will be represented in 3 cm x 5 cm wooden panels: consisting of 6 different cuts.The panels will make up for a total of 1 x 1 meter representation of research.

The small, standardised size represents a kind of scientific objectivity, in attempt to capture and document the natural world in a systematic way. The small size reflects the fragility and transience of the natural world, emphasising the need to appreciate and protect it. It depicts the colourswatchesplacednexttoeachplantspecimeninmyherbarium.Itreferstotheapplication of scientific methodology in the presentation of artistic research.

Conceptual relevance: The theme of transience is closely tied to the small size of the wood panels. A series of small, fleeting moments or impressions. The small size could also be seen as a metaphorforthe fleeting nature oflife itself, witheach colourrepresenting atiny fragment of a larger, transitory whole.

The diagonal cuts are a deliberate choice to represent the idea of transience in a more abstract way. The uneven, diagonal lines could evoke a sense of impermanence or instability, suggesting that the natural world is constantly in flux and never completely stable.

CHAPTER 1.ON TRANSIENCE

During one of our garden walks in the days leading up to my mother's passing, she noticed a delicate blue flower. The flower's vivid colour, intricate beauty, and delicate nature struck a chord with her. It was a Cornflower, one of the few truly-blue flowers in existence. Despite facing numerous setbacks in life, one of the most significant being the untimely death of my father at the age of 39, my mother struggled with mental illness. However, when she received the devastating news of her stage four lung cancer diagnosis, it brought about a poignant shift. During this garden walk, when my mother noticed the flower, she found solace in its presence, at that moment, it was as if we were both fully present and deeply connected. It was one of the most profound experiences I had ever shared with her.

For me personally, the Cornflower came to symbolise something deeper. Despite being a perennial, the Cornflower's lifespan is relatively short-lived. To me it represented a source of hopeandresiliencethatmymotherembodied,eveninthefaceofherfinitude.Imadeapromise to grow the flowers on her grave and in Summer a year after, a bunch of Cornflowers grew. I dried a few as a keepsake, their colour faded I tried freeze-drying a couple, though contained in an airtight vial, due to exposure to light and darkness their colour too did not last. I read an article1 on how to make a plant dye unsolvable by extracting pigment and I repeated this fascinating process over and over, almost obsessively gathering plant material. Through this process I have learnt to mourn and accept my mothers’ passing. As a result, my research question emerged: How does the transient nature of organic matter enrich human appreciation and connection to it?

1 Desnos, Rebecca. "Making Lake Pigments." Rebecca Desnos Blog, 17 July 2020, rebeccadesnos.com/blogs/journal/making-lake-pigments.

‘Braiding Sweetgrass’by Robin Wall Kimmerer, speaks to the impermanence of life. The idea of each being as a fleeting moment in the grand scheme of things suggests an understanding of the transience of life. Despite their short existence, each being has a unique story to tell and a role to play in shaping the future. This recognition of the transience of life is a fundamental aspectofmanyindigenousandnature-basedcultures,whoviewallthingsasbeinginaconstant state of flux and change.2 To me, this idea is a beautiful reminder of our finitude and the interconnectedness of all things, and how each being, no matter how small or seemingly insignificant, plays a vital role in shaping the history and future of our world.

Left : precipitation process of Malva Right: precipitation process of Nasturtium

2 Wall Kimmerer, Robin. Braiding Sweetgrass. Milkweed Editions, 2020, 218: 228: 10.

▲ Toothpick weed. Stompwijksepad, Zoetermeer. 27.06.2021

In my ongoing research on pigments, I have come to appreciate the fleeting and ephemeral nature of the colours and hues I create of organic matter. It is my way of honouring the fleeting beauty of the natural world around me by preserving them in a new form. Over time, these pigments will fade or deteriorate, just as flowers eventually wilt and die. I extract colour and grind them into a powdered pigment, then I mull them to a paint and experiment with exposure to UV lighting by the method of the blue wool scale. I am experimenting with providing my seedlings optimal conditions, so they become plants that are more lightfast and yield more pigment.Arather important factor of the success of the experiment depends on a sun index of 5 which is present during May – August. As this experiment has pending results that will surpass my graduation.

I aimto preservethecolours of thenatural worldand extendtheirlifespanbeyondtheir natural cycle of growth and decay. One approach I use to organise the findings of my research is by adding to an herbarium.As part of this process, I incorporated a colour swatch of the pigment extracted from the plant, and provided details about the chemicals used, along with the date, location, and time of extraction.

▲ Growing Anchusa officinalis and Anthemis Tinctoria from seed.

Aflower's life cycle, from a tender bud to a full bloom, and eventually to wilting and dying, is a natural representation of the passage of time. The life cycle of a flower reflects the larger cycles of life. Although transience presents challenges, the lessons we can learn from the flower's life cycle are invaluable. They are beautiful for a while, then gone, much like life in a microcosm. A possible concern about our finitude gives way to the beauty of obsolescence. Ultimately, our experience lies on the boundary between these two realms, and it is up to us to decide how we navigate this journey.

In the theatrical prologue to Faust3, von Goethe has something about the fleetingness and its opposite in this couplet:

Was glänzt, ist für den Augenblick geboren, Das Echte bleibt der Nachwelt unverloren.

[What glitters is born for the moment, The Real lasts for eternity.]

The materialist and scientific language employed by Goethe's alter ego in "Faust," bears resemblance to the character of Faust himself. This lies in their shared inclination toward exploring different facets of existence. Both characters are driven by a quest for knowledge and experience, but they approach it from different angles.

While Faust seeks a deeper understanding through personal involvement and striving, the alter ego tends to analyse and dissect the world using a more rational and scientific lens. The verse highlights a contrast between the ephemeral and the enduring, reflecting both Faust's restless pursuit of fulfilment and the alter ego's analytical nature, which can be seen as an extension of Faust's own personality.

3 Goethe, Johann Wolfgang. "Faust: Der Tragödie Erster Teil." Page 5.

Sigmund Freud's commentary on the German cultural tendency to reflect on the impermanence of beauty is captured in his essay "Vergänglichkeit,"4 In the essay, Freudrecountsanexperiencewhereheand a young poet friend were admiring the blossoming nature in a summer field. While the poet could appreciate the beauty of the moment, he could not enjoy it due to his awareness that all the blooms would be dead by winter. Freud notes that such contemplation of transience can evoke two reactions: the painful world-weariness of the poet or an irrational impulse to protest reality.

Freud further explains that worldweariness stems from the libido's inability to detach from objects of its affection and return to the ego. Despite this, Freud argues that transience does not diminish the value of beauty, but rather enhances it. Fleeting beauty is rare, and its limitation heightens our enjoyment of it.Although human beauty is transient, its brevity could add to its allure. Freud's perspective suggests beauty's value is derived from the emotions it evokes in us and the meaning we derive from those experiences, rather than its ability to endure indefinitely.

4 Freud, Sigmund. "On Transience." The Standard Edition of the Complete Psychological Works of Sigmund Freud, edited by James Strachey, vol. 14, translated by James Strachey, Hogarth Press, 1957, pp. 305-309.

▲ frozen Coneflower

▲ A small selection of my pigment collection, which come from both organic and inorganic sources.

Nature's first green is gold, Her hardest hue to hold. Her early leaf's a flower; But only so an hour.

Then leaf subsides to leaf, So Eden sank to grief, So dawn goes down to day Nothing gold can stay.

- Robert Frost

In Robert Frost's poem "Nothing Gold Can Stay,"5 he speaks to the ephemeral nature of beauty and the fleeting quality of life. Frost's words remind us that all things are subject to change, and that even the most vibrant and dazzling moments are temporary. This idea resonates with my own experiences working with lake pigments. The golden moments in Frost's poem, these pigments are also subject to change over time, and their colours can shift and fade.Yet, despite their impermanence, these pigments offer us a way to capture the essence of the natural world and to celebrate its beauty in a tangible way. Just as Frost's words invite us to cherish the fleeting moments of our lives, the use of lake pigments reminds us to savour the rich colours of the natural world, even as we acknowledge their transience.

5 Frost, Robert. “New Hampshire” . Henry Holt. 1923, p. 85.

▲ Golden leaves of the Fagus Sylvatica, commonly known as Beech.

CHAPTER 2.ON RECIPROCITY

As I watched the creation of lake pigment, I couldn't help but notice the profound influence of environmental factors on the natural materials used in the process. The soil type, climate, and sunlight all played a crucial role in shaping the final product. As I delved deeper into this observation, I began to see the interconnectedness of things. The earth, the water, the sun, and the plants were all part of a delicate balance that ultimately determined the outcome of the pigment. It was a humbling reminder that everything in the natural world is connected and that our actions can have profound consequences on the delicate web of life. For example, the same plant might produce different colours of dye depending on where it is grown or what time of day it is harvested. I found that creating lake pigments involves commitment to working in harmony with the natural world and recognizing our interdependence with the environment and all living organisms.

By shifting your perspective, you can witness the exquisite complexities of natural selection, where every element in the world, which Darwin deemed the most exquisite life forms6, are results of connections and mutualism. The mutualism between bees and flowers is just one example of such relationships that benefit both parties involved.

6 Darwin, Charles. "On the Origin of Species" London: J. Murray, 1859.

When relationships are established, each participant gains something from the other. Even the initial stages of life, such as cells or protocells, display how biochemical reactions and autocatalysis occur, initiating the beginning of metabolism. These phenomena emphasise the importance of reciprocity and network formation, rather than exclusion. Thus, this concept is profoundly ecological, highlighting the role of transformation in nature, where mutual transformation is inherent. According to Andreas Weber's concept of "Enlivenment," to fully engage with nature, we need to foster reciprocal instances of mutual transformation, which represent the fundamental relationship between nature and culture.7

In 'Braiding Sweetgrass' Kimmerer describes a set of guidelines known as the 'Honourable Harvest' that we can use to improve our relationship with the land by viewing it as kin." it means harvesting in a way that minimises harm.8 I love how she advocates for the precious and inspires us to tap into that inner part of ourselves that is capable of affection and sentimentalityandextendthegreatgift offeeling sharedbyvarioussentient beingsintheworld we inhabit.

7 Weber,Andreas. Enlivenment: Towards a Fundamental Shift in the Concepts of Nature, Culture, and Politics. The MIT press, 2019.

8 Wall Kimmerer, Robin. Braiding Sweetgrass. Milkweed Editions, 2020, 218: 228: 10.

In my own work, I embrace Kimmerer's wisdom by choosing to work with flowers that have reached the end of their cycle or may be unattractive to insects. I use bouquets that are ready for the bin, as I believe in finding beauty in the overlooked and underappreciated. This sustainable and environmentally conscious approach allows me to reduce waste and embrace a more mindful and respectful relationship with nature. By giving these flowers a second life, I contribute to a more circular economy and promote a more eco-friendly perspective on floral arrangements. It's fulfilling to see the beauty and potential in these flowers that others may discard, and it brings me joy to create something unique and meaningful with them.

When you work with a flower or a root or a piece of bark or a leaf where it grew in nature, the conditions of that place and what season it was harvested gives the amount of colour material. The different extraction processes they go through will yield different colours. I also found it depends on the type of soil, soil of poor-quality yields less pigment and has a less deep colour. The pigment extracted from Nettle growing on poor clay soil was much less deep in colour than that of a Nettle growing on hummus rich soil.

▲ Left: nettle grown on hummus rich soil. Right: nettle grown on poor soil.

CHAPTER 3.ON TRANSFORMATION

In my musings on obtaining Cornflower blue, I have come across the BlueWool Scale (BWS), which is a standardized method used to assess the lightfastness of pigments. Lightfastness refers to a pigment's ability to resist fading or altering in colour when exposed to light over time. The BWS evaluates this by subjecting samples of pigments to a controlled light source for a set duration and comparing the degree of fading against the standardised blue wool swatches.

This method finds particular relevance in the realm of conservation, it is crucial to select pigments that are durable and resistant to fading.Art conservators and pigment manufacturers utilise the BWS to assess the lightfastness of pigments before using them in artwork and to determine which pigments are best suited for specific purposes. However I found from the perspective of transience and transformation, the Blue Wool Scale can also be seen as a tool for celebrating the fleeting nature of colour and the beauty that comes with its impermanence. As I assembled my collection of thoughts on the colour blue, I found myself drawn to creating an herbarium, a collection of dried flowers and leaves from which I extract their colours. Alongside each delicate sample, I place a small colour swatch measuring 3 x 5 cm, a testament to the hues that once graced these living organisms. Through this act of preservation, I am reminded of the fleeting nature and the importance of capturing its essence before it fades away. Each petal and leaf represent a moment in time, a moment of brilliance and radiance that will never be repeated.

In the act of extracting colours from flowers and plants to add to my collection, I am struck by the transformative power of this process. With each extraction, the pigment undergoes a metamorphosis, moving from a living, dynamic element of the natural world to a static, yet still remarkable, part of my herbarium. As I gaze upon these botanical specimens in my collection, I am reminded of the kaleidoscope of colours that once adorned these plants, a vibrant and diverse palette now captured in a state of suspended animation. But it is not only the initial transformation that fascinates me, it is also the variation in colour that occurs each time I extract a pigment. As someone who does not approach this process with exact science, I know that the outcome will always be slightly different, and this excites me.

Different chemical compounds present in plants can give rise to various pigments, each contributing to the overall colour. For example, anthocyanins are responsible for producing red, purple, and blue hues, while carotenoids give rise to yellow and orange tones. The ratio and concentration of these compounds can vary based on environmental factors, leading to variations in colour outcomes. The pH level, which measures the acidity or alkalinity of a solution,alsoinfluencesthecolouroutcome.Somepigmentsexhibit colourchangesdepending on the pH of the environment. For instance, anthocyanins may shift from red to purple or blue as the pH changes like seen in cabbage. This phenomenon is often observed when using acidic or basic substances to alter the pH of a solution during extraction or processing.

Additionally, the environmental conditions, such as temperature, humidity,light,and darkness, can affect the chemical reactions that take place within the plant material during extraction. These factors can impact the stability and degradation of pigments, potentially altering the final colour of the extract. The interplay ultimately leads to the subtle differences observed in the final colour of plant extractions.9

9 Heldt, Hans-Walter, in cooperation with Fiona Heldt. “Plant Biochemistry”. ElsevierAcademic Press, 2005.

Below are colours extracted from pink tulips, with each color having an equal ratio of alkali to substrate, exhibited a 1:1 proportion. Additionally, they possessed identical dry weights and were cultivated in peat soil. The colour extraction on the left was of tulips harvested in the evening, while the extracted colour on the right was of tulips harvested in the morning.

▼ Red cabbage. Different levels of Ph yielded different colours

Below are differenttechniques of the pigment extraction of Madder portrayed, theexperiments involve oxalic acid, citric acid, vinegar. Madder generally produces a range of red and orange hues when used to create lake pigments.The main dye component in Madder is alizarin, which gives a strong red color. However, madder also contains other dye molecules such as purpurin and pseudo purpurin, which contribute to the overall color variations.

I have created a video showcasing the extraction process of pigments from a particular subspecies of Delphinium.

▲ Extraction of Iris Green. Iris Germanica, collected on 19.05.2022

Foraging pigments to me means cultivating a relationship with direct mediators of aesthetic response. I consider this practice synonymous with witchcraft and an artform in and of itself. I felt a sedimentary yearning to touch and be touched by something completely incomprehensible. To put it into words Jane Bennett describes it as “the desire of the craftsperson to see what a metal can do, rather than the desire of the scientists to know what a metal is” 10 Shedrawsa distinction between workingalongsideamaterial andthescientist who is an objective observer who can describe or know. I desire to know what a pigment can do.

Spinoza's words “nobody has yet determined what the body can do” 11 reminds me that there is so much more to uncover, that the body of the pigment holds secrets yet to be revealed. By embracing this perspective, I embrace the wonder and awe that comes with venturing into the unknown. Each pigment becomes a vessel of potential, waiting to be explored and expressed in ways that surpass our current understanding. To me, pigment foraging informs the production of aesthetic experience, creates objects of art, and touches human hearts and souls.

10 Bennett, Jane. “Vibrant Matter: A Political Ecology of Things”: a life of Metal 52: 60. 2010

11 Spinoza, Baruch “Ethics” Chapter 2, part III, pro-position 2, 280 .1677

▲ Left to right: Ligustrum, Tagetes, Alium

CHAPTER 4.ON LIGHTAND DARKNESS

In a conversation with Milena Bonilla, she shared with me her insights into the natural process ofdegradationthatoccurswithinplants.Evenincompletedarkness,plantscontinueto undergo this process, as Milena revealed while discussing her herbaria 12 Apparently organic pigments can fade in darkness over time due to a process known as photodegradation and it occurs when the chemical bonds in the pigment molecules are broken down by exposure to light, causing a loss of colour intensity or a change in hue.

Whilesomeorganicpigmentsmay bemoreresistanttophotodegradationthanothers,extended exposure to darkness can also cause the pigments to break down due to chemical reactions that occur over time. The specific rate and extent of fading or degradation will depend on various factors such as the type of pigment, the intensity of light exposure, and the conditions in which the pigment is stored. As an artist who has delved deeply into the nuances of colour, I am reminded of the colour theory of von Goethe that resonates with my understanding of photodegradation. his writings explore the idea that the existence of light is inherently tied to the presence of darkness. He examines the contrast between light and darkness, their interplay, and their roles in shaping our perception and understanding of the world. In this way, Goethe's

12 Milena Bonilla, tutor New Earth. Willem de KooningAcademy – Conversation through a Zoom meeting on 12/04/2023

▲ Rose at night and at noon

works suggest that light and darkness are complementary and essential aspects of existence.

13 This speaks to the interdependent nature of contrasting elements. In the context of colour and photodegradation, this highlights the importance of considering both the vibrancy and the fading of colour.

Since the dawn of mankind, colour has been an intrinsic part of the human psyche, it has been crucial in how we navigate and experience the world. From the first moment we extracted ochre from the earth in our ancient past and painted our skin and the walls of caves, colour has been a integral part of the creative process of humanity.

Colour holds immense importance aiding in survival and reproduction. Primates utilise colour vision to identify ripe fruits and potential mates, while bees rely on it to locate flowers for nourishment and pollination. Bees have a fascinating colour vision that differs from both humans and other animals. They possess three types of colour receptors, just like humans, but their receptors are sensitive to ultraviolet light, along with blue and green wavelengths. This enables bees to perceive a wider range of colours, including those in the UV spectrum that are invisible to us. The bee's visual system processes this colour information, though the exact mechanisms are still being studied. This specialised colour vision helps bees in tasks such as identifyingflowersanddistinguishingpatternsintheir environment,allowingthemto navigate and thrive in their unique ecological niche. There is an intricate relationship between creatures and their environment, underscoring the exquisite adaptation of primate and bee colour vision to the exigencies of their existence.

Moreover,the sensitivity tocolours varies among animals, depending on their ecological niche and evolutionary history. These differences in colour perception are not just biological quirks but have deep implications for how animals experience and interact with the world. Understanding these differences can offer us a glimpse into the diversity of sensory experience beyond our own human perspective.14

13 Von Goethe, Wolfgang. “Theory of Colours”. London: John Murray,Albemarle Street. 1840.

14 Lotto, Beau. “The Science of Seeing Differently.” Hachette book group. 2017

CONCLUSION

Throughout the process ofworking with lake pigmentsI have learned several valuablelessons. The ephemeral nature of life and beauty is a powerful reminder to cherish and appreciate the present moment. Just as flowers bloom and eventually fade, everything in life has its own cycle. By acknowledging and accepting the transience of things, we can learn to find beauty in each fleeting moment and make the most of our experiences. Each flower I preserve holds a profound symbolic significance, representing a fleeting moment in time that will never be repeated. Through my intuitive preservation techniques, I am crafting a tribute to my beloved mother's memory. The beauty and radiance of these preserved elements go beyond their physical appearance. They serve as a visual reminder of the brilliance and joy my mother brought to my life and the profound impact she had on me. With each extracted colour I am reminded of the importance of capturing life's essence before it fades away.

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Bonilla, Milena, tutor New Earth. Willem de KooningAcademy – Conversation through a Zoom meeting on 12/04/2023

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