Indeed, the Dutch designer comes across as a loyal disciple of Monet, who was so transfixed by his perception of how Rouen's gothic cathedral changed throughout the day that he made several paintings of it. Jongerius's very design ethos is underpinned by such observations, as evidenced in the commissioned installations on display.
Jongerius, who founded her studio in 1993 shortly after graduating from Design Academy Eindhoven, began delving into the conditions of colour after becoming aware of metamorism – the phenomenon by which colours appear differently in different situations. Her 'Colour Vases (series 3)' exemplify how the combination of various minerals and oxides produces contrasting effects.
The exhibition is divided into distinct spaces that simulate morning, noon and evening conditions, in order to convey the hazy, bright and shadowy hues of colour in those periods.
Recurring throughout are Jongerius's 'Colour Catchers'. Created by folding and gluing cardboard patterns, their faceted surfaces absorb and reflect nearby colours. For instance, the 'Grey Colour Catchers' in the noon section become coloured greys, as multiple colours waft across their surfaces.
Echoing this, a series of hanging textiles, titled 'Woven Movie', interprets the changing nature of an object throughout the day in varying colours, materials and designs.
Certainly, if a church of colour could exist, Jongerius, 54, would be a dedicated preacher.