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Series, pigment on panel, gold leaf on resin, dimensions vary. 

Kohn Gallery, Los Angeles


"What is that color at the Particle Horizon, at the furthest point that we can see? Between Heaven and Earth? …I started by pouring pigments on the earth, and from that to a sculptural space, the earth as a sculpture moving in space." – Lita Albuquerque 


In response to research on pigments and an obsession with the vibratory quality of color on the perceptual system and the body, Albuquerque’s choice of color for the Embodiment - Auric Fields paintings embark upon a new horizon for the artist. Subtle variations of rose madder (taken from lake roots), soft purple vesuvianite (originally found on Mt. Vesuvius) and pigments used in centuries-old Japanese painting technique called Enogu form the palette for the body of work. Executed on layers of black and white pigment backgrounds, the paintings’ top layers of colorful pigment begin to vibrate and form a tonal language. Light is at once absorbed, reflected and refracted – perhaps metaphors for light as consciousness. And if we can consider light equivalent to consciousness, then these paintings highlight our collective awareness so that perception is made possible. It is no surprise that Albuquerque’s choice of pigment takes us from lake waters to volcanoes, from the roots of plants to the roots of the earth’s core, materials that are at once below and above the earth’s surface.

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