statement & bio
Colour was born in Salt Lake City, Utah and grew up in Southern California. She received her BA in Spanish and Political Science and her MFA in Sculpture/Ceramics at the University of Utah. She has exhibited throughout Utah and in surrounding western states and has also participated in several artist residencies, taught art at the University of Utah and facilitated art classes for refugee children as way to promote language skills and creative exploration. She was also on staff at Huntsman Cancer Institute where she taught art classes for patients, families and staff as a component of holistic healing. Colour believes that creativity is an inherent part of being human and that accessing this creativity is a way to still our minds and broaden our perspective about the world around us.
I make three-dimensional, monochromatic, and minimal compositions that feature organic textures from found and created objects. The materials I employ include traditional mediums like porcelain, paper, and ink, as well as less traditional mediums such as drywall, industrial products, and foraged grasses. Decomposition and the vestiges of usefulness are the common threads that unite these materials.
My work is a response to what I feel is a frenetic pace of life and pressure to consume. The impulse of American culture to dispose of items that are no longer useful reflects a value system that ultimately prioritizes the utility of people and things; when they are too old or broken to be useful, they are considered ugly and discarded. Alternatively, I see decay as an integral stage of life and a symbol of the passage of time. Objects and processes that illustrate the abstract concept of passed time are frequently the subjects of my inquiry, as they contrast the mainstream obsession with newness.
One time-based process that I implement is evaporation. For instance, I will immerse paper into vats of ink for extended periods, sometimes up to a month. The ink evaporates over time, leaving visible markers of hours and days passed. These marks are sensitive to season, weather, and a host of other factors that create a result that is never the same but always indicates the passage of time. Additionally, my incorporation of weathered paper and recycled carpet remnants transforms the discarded elements into something that transgresses their original use. They become the story of time, place, industry, and culture of disposal.
Through the combination of time-based processes and no-longer-wanted industrial materials, I create lush textures and quiet compositions that present waste and decomposition as a site of beauty and intrigue that counters contemporary narratives.