The Colour of Time
“There is no such thing as an empty space or an empty time. There is always something to see, something to hear. In fact, try as we may to make a silence, we cannot.”
The Colour of Time gathers together a series of seascapes on an attempt to conform a unique, integral and complex composition. It is a sort of exercise in synthesis and memory where images are transformed into material forces which shape and constitute a new work based on the musical and psychological attributes of colours and forms.
Hamilton is interested in questions of repetition, abstraction and the aesthetic potential of image-making to provoke emotions and collect memories. In a way, her bodies of work could be understood as a reaction against forgetting, against dementia. Like memory and the processes of learning, it is through repetition and mimetic acts that we grow from childhood to the adulthood memorizing from the others through observation and emulation. Keeping this in mind, by repeating the same image over and over again (with its small differences and imperfections due to the flow of time), variating the exposure but maintaining the frame, Hamilton collects a series of moments in time that all together conform a score, a memento of her own.
Working from the fragment, the repetition and the pattern, Hamilton’s work moves around processes of knowledge at the same time she inquires into the way that subjective memory is built. The ornamental potencial of The Colour of Time aims to appeal to the senses. Furthermore, the repetition of colours and forms are a metaphor of the musical attributes of the sea. Like Wassily Kandinsky once said every work of art is the child of its age and, in many cases, the mother of our emotions.