There are many incredible sentiments to take from art and the layered subcultures a persons practice creates. The ripple effect of a colour, a form, a medium- deep to some, nothing to others.
What has been ever inspiring in the evolution of Midnight is the refined and playful artistic practice of Yves Klein and his relationship with blue.
Yves Klein's practice for applying one single, primary colour across all of his work, was a practice born from his own perceived failure. That being the audiences misinterpretation of his monochromatic body of work- Yves: Proposition monochromes at Gallery Colette Allendy, February 1956.
At the closing of the exhibition and having failed to sell a single piece of artwork, Yves set to explore the use of blue and developed the specific hue 'International Klein Blue' (IKB) with Edouard Adam, a Parisian art paint supplier. The uniqueness of IKB does not derive from the ultramarine pigment, but rather from the matte, synthetic resin binder in which the colour is suspended. Which allows the pigment to maintain as much of its original qualities and intensity of colour as possible. Applied across form, body and texture, IKB is to me, the fingerprint of Yves Klein.
Yves never ending exploration of IKB has been a primary reference in the design practice for Midnight. Particularly its application to the human form through performance art. I truly value the way he animated something as simple as the colour blue (albeit a specific hue), making it more complex through application on canvas, sculpture, and performance art. I am constantly asking myself and those around me;
How can we apply a single way of dressing that is both simple and multifaceted?
How is it that we can produce single pieces that are triumphant in their own right, and celebrated as a collection?
Like Yves Klein, it starts and ends with keeping things simple.