Where Color Transports: An Interview with Andrew Arocho & Vincent Dion

"My strong reliance on color is evidence of the great gift of sight, and the subtlety of full spectrum awareness that many of us have been given. " - Vincent Dion
January 11, 2025
Where Color Transports: An Interview with Andrew Arocho & Vincent Dion

This year The Contemporary Art Modern Project has hit the ground running with three concurrent exhibitions in the gallery. In Gallery B artists Vincent Dion and Miami’s own Andrew Arocho, in a two man exhibition, explore color and perception through both confident colors and the abstract in Where Color Transports.

 
Where artists Andrew Arocho and Vincent Dion meet is in their understanding of color as a means to effect a viewer. In  the two man show: Where Color Transports, the viewer will see that although the use and application of color on their  works greatly differ, their adherence to color, and its theory does not. Basically to understand color theory one has to  adhere to certain expectations assigned to color, as color is closely linked to perception, which then is linked to one’s  psyche. Added to the reliance on color perception, both artists in this exhibition, work in the abstract, thereby also  relying on not only again the artist’s perception of color but also that of the viewer.


Vincent Dion: Local Commotion, 2018. Acrylic, Watercolor and Gouache. 19 x 28 inches. Available via Artsy.

Deciphering works revolving around  perception in the abstract the artist relies upon certain colors that translate an emotion, often placing the colors into  forms where the unconscious lives and sets associated meaning. Take for example, Dion’s piece: Local Commotion  (2018), technically a work made from Acrylic, Gouache and Watercolor on Paper. The work dances in swirling colors  that abstractly render the piece into a a tableau of what does seem to be confusion, but after taking some time to  really look at and into the work - one is allowed to understand the colors make room for one’s own experience. There is  also always the promise that out of confusion, or even chaos, order finds its path - other blooming into the wonderful. 


Andrew Arocho: Setting Sail, 2024. Acrylic, Ink, Chalk, and Cement Stretched on Canvas. 48 x 36 inches. Available via Artsy.

Looking at Andrew Arocho’s works one immediately notices his bright and bold colors. For example in Setting Sail (2024),  blue, red, orange and black all stand out on the work, in various shapes, possibly suggesting a warning of some sort -  but with the title all meaning is swept in a new direction. Considering the purpose of a ‘main sail’ and how it helps steer one through waters (the unconscious, perhaps) regardless of what nautical terrain it encounters, one can be rather  confident it will get one to shore. The same safe harboring can be found in the work - that although its colors and their  dependent meanings may suggest one thing - it is through the journey towards understanding one’s resilience that  leaves the viewer newly refreshed and anchored.

 

With this thoughtful reflection on Dion’s piece: Local Commotion  (2018) and Arocho’s Setting Sail (2024), we begin to understand the deep emotional resonance and layered meanings within their respective work. Now, we shift from exploring the impact of color to an exploration of the experience itself. In this Q&A, Vincent Dion and Andrew Arocho offer insights into the process of coexisting in an exhibition and the unique perspectives they bring to Where Color Transports.


You don’t know one another, but now art from each of you - is sharing space - please explain what it is like to share space with someone you do not know?

Vincent Dion: To say a bit about who I am; I have been lucky enough early in my art life  to have been a protege of a skillful art curator/art services professional. I learned  by example how to assess and value art and artists, and how to create  exhibitions by uplifting all of the artworks in a show through advantageous  placement. I learned to put opportunities into perspective, and most importantly,  how to be the artist that others have a good experience working with.

I am not certain that I know much about art. I am always trying to put my  finger on it, and am grateful to be able to build things that sometimes share  psychic space with others. My outlook in working with a gallery is trust in the  gallery’s vision, presentation and professionalism. I am very gratified to be  included in the current exhibition at The Camp Gallery. My experience is of  detached contentment while not having seen the show in person. From my  perch on the other end of the east coast, I applaud Jason’s use of his initials on  his raw pictures. In response to Andrew’s work, I recently read an article  regarding specific forensics about the enduring qualities of ancient Roman  concrete. I found Andrews’ use of concrete-like floating imagery anchored yet  surprising, and somehow just-right on his color fields. I find it interesting that  Roman concrete by design gets stronger over time as it cracks and is subjected  to water infiltration, which is opposite to the lifespan of modern concrete.

Andrew Arocho: Sharing space with someone is always an interesting experience for me, especially when I get the chance to discover new work. I often find the other person's creations intriguing. Luckily, Vincent's work is not only magnificent, but it also aligns perfectly with my own tastes. It's clear that he has developed a unique language through his art, expressing himself with depth and authenticity. As well of Jason. 


Andrew Arocho: Preparatory Studies 1-6, 2024. Water Color, Oil Pastel, Acrylic, and Cement on Paper. 5 x 4 inches. Available via Artsy.

" My creative drive often sparks when I uncover a fascinating piece of knowledge that shifts my perspective"

- Andrew Arocho

Each of you has a strong reliance on color as the messenger - what is the message you wish to convey in your works?

VD: Overall, my strong reliance on color is evidence of the great gift of sight,  and the subtlety of full spectrum awareness that many of us have been given.  Even if we lived in total darkness, the nuance of what we might imagine could  exist in a world experienced by our other senses alone. Subtlety takes many  forms. My message is different in each picture. I package how I experience  personal color sensations visually aligned with memories, and I associate this  with form. I use as many colors as I can get my hands on in order to invent  forms and interpret visual experience. This in turn may prevent falling into the  trap of reading colors and forms only as evidence of habits or training. In the  experience of viewing art, the overlooked part of the message is the arresting  and thrilling connection between creator and viewer.

I get a huge thrill out of seeing art. I want to use color in as many ways as  I can in order to surprise me. My abstract work might appear to be about  methods and materials as subject matter, but for me it is more. The process and  the result take up space and time to make and view. If I tell you what the message is, you may not spend any time interpreting what you see. The  message can be a mystery, an experience to enjoy.

AA: In my works, I aim to explore color and figurative silhouettes as metaphors for life's journey. They represent both the beauty and the struggle we must navigate to reach our destination. Through this, I hope to evoke the human experience, inviting reflection on our inner voyages and our shared humanity.


Vincent Dion: Still Wet, 2014. Acrylic, Watercolor and Gouache. 28 x 19 inches . Available via Artsy. Local Commotion, 2018. Acrylic, Watercolor and Gouache. 19 x 28 inches. Plan Elevation I, 2017. Acrylic, Watercolor and Gouache. 19 x 12 inches . Available via Artsy.

" A picture might have to sit for a time for me to relate to it, to make sense  out of what it looks, thinks and feels like."

- Vincent Dion

Vince you have said that the works you are showing took several years, could you explain your process? Andrew, could you also explain your process - For example, why add cement - an element that stagnates to works that inspire movement and transition?

VD: In my estimation, art has at least four core components: concept,  process, product and comprehension. Different weight or emphasis by the artist  can be given to any percentage of each component. Art can and will be  interpreted and reinterpreted in different ways through time. In my works on  paper, my emphasis is generally on the process and the product.  

I used to believe that art is a statement of it’s time and a finished artwork  should be left as finished. Overtime, I have come to believe in the reincarnation  and recycling of past artworks. I now look at objects I have made in the past as  potential raw material for current work. This also leads me to let artwork sit and  take time to develop. My various interests in aesthetics can inform the various  methods and materials that I employ on the supports of paper, canvas, or  sculpture. I tend to work in different media simultaneously. Creating artwork  needs the right combination of invention, investigation and experience.  

A picture might have to sit for a time for me to relate to it, to make sense  out of what it looks, thinks and feels like. It can also appear finished in an  instant. That feels like I cheated, but what I have come to learn is that my  creative antenna was working unfettered. I feel that the picture is evidence of the  message, that creative intent is alive. To quote Leonard Cohen: “If I knew where  good songs came from, I’d go there more often.

AA: My artistic process is rooted in a deep exploration of history and discovery, inspired by the tales of early sailing pioneers and the works of past painters. My creative drive often sparks when I uncover a fascinating piece of knowledge that shifts my perspective. For instance, a book I discovered a few years ago detailed how, during World War I, ships and sailboats were sometimes constructed from concrete/cement due to material shortages. This unconventional method, though ultimately abandoned because of issues with weight and corrosion, left a lasting impression on me. From these discoveries, my process takes shape—it's both planned and purposeful, yet leaves space for spontaneity and creative freedom as the painting evolves.


There has always been discussions on the symbolic ‘meaning’ of the color blue - from references to The Virgin Mary, to the sea, trust and loyalty, and much more - for you both, as much of your work revolves around, or includes a predominance of blue - what does blue mean to you - and why?

VD: I may be a synesthete. When I was a teenager I used to see blue when I  was under stress. Blue to me is the hardest color to work with. I usually avoid it,  partially due to its direct associations of water and sky and partially due to my  own formative negative associations with it. I realize that for any negative  experience there may also be an opportunity to see it as a savior, a lesson to  leave that experience in the rear view mirror. For many people, blue is generally  a preferred color whether because of experiential connections, conditioning or  the effects of color stimulus on the brain. I was surprised to read that Melanie  thought that I used it frequently. I looked back at what is included in the exhibit  and there is a bit of blue in everything. I guess I see it as a necessary compliment and softener to every other color. Dynamics needs both harmonious  interaction and its opposite.  

AA: Blue, to me, symbolizes a sense of balance that flows through my work. Its oceanic tones bring both calm and depth, carrying a quiet strength. As I explore different shades of blue, I’m drawn to how it creates harmony and space for reflection, offering a feeling of quiet contemplation.
 

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Amy Arechavaleta

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