Chromointerférence (Paris 1964)
The Chromointerférence came about one day in 1964 when, as Carlos Cruz-Diez was silk screening some Couleur Additive patterns, he overlaid a transparent plastic sheet bearing the same arrangement of lines. As he moved the transparent image over the Couleur Additive modules, he noticed the appearance of color interferences that changed as the pattern on the overlay glided over the one below. Where the patterns intersected, the conflicted reading thereby produced created ranges of colors that had no chemical counterpart in the support. At the same time, the displacement of the patterns generated waves of movement that flowed in the opposite direction. He called them “false prisms” because they reconstituted the entire spectrum of light on an opaque material support.

Observed in this context, it should be noted that the chromatic variations in the Chromointerférence, depending on the nature of the support, can be additive or subtractive. They are additive when working with opaque supports (such as paper, cardboard, and so on), as in the case of Couleur Additive, which is inspired by the appearance of a virtual darker line where two color planes meet. They are subtractive in the Environnement Chromointerférent, in the Pyramide de Volume Chromointerférent, and in the Expérience Chromatique Aléatoire Interactive, which, having no physical support, owe their existence to subtractive color. This phenomenon is produced when rays of colored light — emitted by projectors or by pixels in a computer — intercept each other in space, causing them to change their hues.


Environnement Chromointerférent (Paris 1974)
Carlos Cruz-Diez’s Environnement Chromointerférent was conceived in 1965 as part of his Deconditioning Labyrinth. But it was not until 1974, when they were shown at the Museo de Arte Contemporáneo de Caracas, that a way to exhibit them was devised — a method, incidentally, that never satisfied the artist. That is why, after being exhibited in 1974 and 1975, the project was archived until 2001, when computer technology provided a solution that fully satisfied all of Cruz-Diez’s requirements and specifications. During that year, the project was presented at the exhibition "Carlos Cruz-Diez: De lo participativo a lo interactivo" [From Participation to Interaction] at the Fundación Corp Group Centro Cultural in Caracas.

The purpose of the Environnement Chromointerférent is to create a situation in space of immateriality, of transfiguration and ambiguity of color through motion. The projection of the “Módulos de acontecimiento cromático” in constant motion on people and objects, make them transparent and they virtually change shape and condition. Simultaneously, viewers take on a dual role of "actors " and "authors" of a chromatic event that evolves over real space and time.

When staring at shadows on the walls, we have the sensation of moving in the opposite direction to the lines of colors. A dialogue then occurs between that which is "variable" of the chromatic interferences, and that which is "constant" of the shadows on the walls.

As stated above, the Environnement Chromatique, lacking any physical support, was based on subtractive color, which is a phenomenon produced when the colors of projected rays of light are altered as they intersect with each other in space.


Expérience Chromatique Aléatoire Interactive (Paris 1995)
Software application that allows the user to create compositions of shapes and harmonies of color, reaching the spirit of the artist, along with his equipments and tools, such as a musician performing a piece from a composer’s score. At the end, the user can make a print of the experience signed Cruz-Diez, as interpreted by....

Taking advantage of the proximity between the computer and the user, the phenomenon of "the becoming of subtractive color," non-existent in the media, enhances the enjoyment and understanding of the proposal on color — an event that evolves in time and space.

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