color schemes, with more
intense colors used frugally,
in Scott's case, a red, seen
only on her drawing room
couch and armchairs, the
color of barely dried blood.
Call me macabre: this is the
stuff I live for, aesthetically
speaking. To me there is
nothing more perfect than the
right measure of attenuated
primary colors. Rietveld and
van Doesburg orchestrated
red, blue and yellow in all their
vividness and force; these
same colors together, diluted
or muddied a bit, are simply
the cat's meow. The curtains
in Scott's stately, Antique with
a capital "A" minimalist living
room are a citrine yellow that
is neither mustard-tinged nor
green. The aforesaid blood
red armchairs have just one
arm each—an arch, demure
pair. On one wall hangs a
massive calligraphic painting
by Wenda Gu in black and
grey on white; a headless
Roman sculpture to the left
attends.
HYLAND
