Blue has been of particular importance in many areas of art history: as early as the Renaissance, the price of a painting was calculated according to the amount of ultramarine blue used in it; since the dye was elaborately produced from semi-precious stones from “beyond the sea,” it was particularly expensive. Blue has always been considered the color of the supernatural, the color of transcendence – a role that has become increasingly effective with the advent of modernism: “The deeper the blue becomes, the more it calls man to the infinite, awakens in him a longing for the pure and ultimately for the supernatural. It is the color of the sky as we imagine it at the sound of the word sky,” Kandinsky wrote in 1910.
This installation was carried out as a group work within the framework of a course. The theme was to collect, differentiate, order and finally stage a color (in this case blue). The installation was realized by means of a projection (kaleidoscope effect) on the floor, starting from a beamer deflected by a mirror. Lined up on the floor were small plastic shot glasses filled with food coloring, ink and water to achieve different shades of blue. The room of the exhibition was completely darkened and with the help of a few tables placed on their sides, a space was created in the room. Sounds of the sea and harp underlined the installation and intensified the effect and impression of “blue” as our group felt and portrayed it.