I am not at all interested in ‘pure’ colour… So if I use colours to begin to dissolve forms, I also use forms to prevent colours becoming entirely detached from their everyday existence.”
Batchelors rediscovery of colour theories into a contemporary context feels like it is presented as a challenge to places like the White Cube and modernist ideals of purity. Although he fits within the establishment, the work wants to challenge our perception of colour, balancing vibrant colours with structural forms. His book (Chromophobia, 2000) goes into more detail of how these thoughts are based upon art histories attitudes to colour, and makes a fascinating point about how the movements that over used colour (pop art) and those that avoided them (minimalism) are what has given artists today the freedoms of creation. With the emergence of the camera we moved away from the limitations of realistic artwork and into an era of industrial and technological art.
However, I would argue that in a contemporary setting we must explore colour theory as a base for emotional documentation and understanding, rather than continuing in a vain of ‘art-for-arts-sake’.