In Chromophilia, Batchelor celebrates colour, holding his sculptural works in mind whilst playfully reimagining them as two dimensional colour fields, the geometry countered with torn elements and then committed to print where specialist ink allow his totems of colour to lift from the substrate, edges become present, the sculpture existing once again.
Colour is uncontainable. It effortlessly reveals the limits of language and evades our best attempts to impose a rational order on it. To work with colour is to become acutely aware of the insufficiency of language and theory – which is both disturbing and pleasurable.
