Capturing and materializing daylight are a challenge. Some of us made it their mission, their desire to fulfil this task, whether it is successful or not. This can be sought scientifically, philosophically or even artistically. Jan Andriesse (b. 1950) chose the latter.

In the triptych Color spectrum of the daylight (1997) Andriesse investigates the phenomenon light and the color spectrum it produces during a day. The triptych presents the light gradient of one day, from dawn to dusk. The bands of color in the immense painting move imperceptibly into one another, it is impossible to determine where one color flows into another. The bands are applied layer by layer with acrylic paint that is mixed with marble powder. Brush strokes are removed with an eraser, creating a transparent surface to which every structure, every trace of craftsmanship, of even materiality is withdrawn. Your eyes are trying to get a grip on the colors, but they can’t find any point of focus.

Starting from the left in light blue it gradually moves to light green, to antique white on the far right of the triptych. Despite the unmistakable aesthetics of the painting, the need arises to get away from this dazzling power for just a moment.

Andriesse manages to materialize an ephemeral phenomenon, while still touching its essence of immateriality. Daylight appears as an enlarged detail on the wall, but also appears in all its elusiveness. The artist doesn’t just depict daylight, but shows what daylight is and can be. A genuine, sensory experience. The amazing life of daylight.