Paris, spring 1957. A painter asked a chemist for a blue that would not dull in binders, and International Klein Blue emerged as a pigment of pure intensity.
The Monochrome as Argument
Seen in a gallery, the monochrome does not describe depth or figure; it occupies the room and leaves only sensation behind.
The canvas is not a window. It is a field of presence.
The Anthropometries
When bodies pressed into the pigment, the blue became evidence of contact: not portraiture, but a record of presence.
Lessons for the Screen
The lesson for interface work is severe and useful: let the color carry the experience, and let everything else stay quiet.