Jolanda Keeris: Fuzzy Logic in Color – Art of Transitions, Densities, and Blurred Boundaries

“Carnaval in de Stad” (100 x 120 cm) exemplifies fuzzy logic in a dynamic composition. Its “dynamic interplay of reds, blues, yellows, and greens” evokes “joyful chaos and an exuberant spirit where boundaries blur.” This directly relates to fuzzy sets of chromatic identity. Instead of strict color boundaries, a patch of color might have a high membership degree in ‘red’ (e.g., 0.9), a moderate degree in ‘orange’ (0.6), and even a low but non-zero degree in ‘yellow’ (0.2). This continuous color spectrum creates “joyful chaos,” allowing the eye to perceive a vibrant confluence rather than distinct blocks.

“Textured layering and rhythmic brushwork” contribute to fuzzy spatial relationships. The perception of foreground/background is not absolute; a layer might have a 0.7 membership in ‘foreground’ and 0.3 in ‘middle ground,’ creating fluid depth, mirroring how “communal energy thrives” and “boundaries blur” in a real carnival. “Transitions that suggest rather than define” are the essence of fuzzy inference, where conclusions (festivity) arise from imprecise, overlapping premises (color/texture blends).

In “De Favelas in Rio de Janeiro” (70 x 90 cm), Keeris’s “energetic brushstrokes and intense color contrasts” depict “complexity and vibrancy,” resonating with fuzzy logic’s capacity to handle complex, multi-faceted realities. “Rich reds, yellows, and contrasting dark hues” create a fuzzy linguistic variable of ‘intensity’ or ‘liveliness.’ A specific area might have high membership in ‘liveliness’ (0.9), moderate in ‘socio-economic struggle’ (0.6), and low but present in ‘hope’ (0.2). These overlapping degrees of truth convey a “powerful visual narrative” echoing “both liveliness and the intricate socio-cultural dynamics of favela life” without reducing it to binaries. The “nuanced interpretation” stems from this fuzzy modeling of complex themes, where aspects exist in varying degrees of presence.

“Connected” (120 x 160 cm) profoundly illustrates fuzzy set theory in harmony and interaction. “Structured horizontal bands” transitioning “subtly from warm, earthy hues to deeper, cooler tones” embody fuzzy boundaries between color temperature sets. Instead of a sharp line, there’s a gradual change. A band might be 0.9 ‘warm’ at one end, shifting through 0.5 ‘warm’/0.5 ‘cool’ in the middle, to 0.9 ‘cool’ at the other. This “harmonious interaction without strict boundaries” defines a fuzzy transition, allowing for “interconnectedness and continuity.”

“Fuzzy gradations of color and textural layers” imply that membership in conceptual fuzzy sets like ‘unity’ or ‘diversity’ is not absolute. An area might have high membership in ‘unity’ (due to seamless transition) while also moderate in ‘diversity’ (due to subtle variations). This prompts viewers to “contemplate nuanced balances and transitions,” which fuzzy logic enables – understanding systems where variables are continuous and relationships are not strictly binary.

“De Blauwe Stad” (90 x 90 cm) exemplifies fuzzy logic conveying atmospheric and emotional states through nuanced visual language. Its “nuanced palette dominated by gradations of blue, accented with warm and neutral tones,” creates a fuzzy set of ‘blueness’ or ‘tranquility.’ Different shades possess varying degrees of membership within the overarching ‘blue’ concept, from pale (low intensity) to deep indigo (high intensity).

“Geometric, vertical arrangements” that “evoke fuzzy boundaries of cityscapes” show how structured elements can be fuzzy. Edges of buildings might merge or overlap due to texture, light, or blending, giving them a degree of membership in both ‘distinct shape’ and ‘blended background.’ This “spectrum-like approach” captures “the subtle interplay of calm and structure amid urban complexity,” where ‘calm’ and ‘structure’ coexist in varying degrees, mediated by the fuzzy nature of visual components.

The diptych “Connected in 2” (Diptych, each panel 120 x 40 cm) explores duality and transformation via fuzzy aggregation and defuzzification processes. “Vibrant interplays of color and texture” where “warm and cool hues merge in structured yet fuzzy layers” represent aggregation of fuzzy sets. The combination doesn’t yield a crisp ‘neutral’; instead, it creates areas with degrees of membership in both, resulting in a nuanced blend, mirroring the complexities of dualities.

“Transitioning from ethereal at the top to denser textures at the bottom” can be seen as a fuzzy rule system for interpreting depth or material density:

• If texture is light and color is ethereal then density is low
• If texture is dense and color is deep then density is high

Intermediate areas would have intermediate degrees of membership in ‘low density’ and ‘high density’ sets. This “fluid coexistence of seemingly opposite forces” parallels fuzzy logic’s ability to handle contradictions and paradoxes by allowing elements to partially belong to opposing categories. Unity emerges not from eliminating contrasts, but from their nuanced, layered intermingling.

“Daughter” (Triptych, each panel 30 x 30 cm) is a compelling narrative of identity formation as a continuous, fuzzy process. “Shifting negative spaces and evolving colors, moving from obscurity to clarity,” illustrates a fuzzy state transition. ‘Identity’ isn’t binary; it’s a gradual unfolding. An initial panel might represent low membership in ‘clarity of identity’ and high in ‘obscurity,’ progressively shifting to high ‘clarity’ and low ‘obscurity.’

“Richly textured brushwork and intensified colors” contribute to the fuzzy representation of identity. Texture itself can be a linguistic variable (‘smoothness’ or ‘roughness’) with varying degrees, reflecting growth complexities. This “flexible understanding of identity formation” resonates deeply with fuzzy logic’s capacity to model processes that are gradual, non-linear, and inherently uncertain, much like human development.

When viewed right to left, “Daughter” narrates a journey from obscurity to self-awareness. Deep violet negative space gradually reveals a defined, vibrant silhouette, signifying movement from half-silence to expression. Bold, gestural strokes build complexity within the face, symbolizing identity growth and emotional depth. As the background lightens, the composition emphasizes themes of emerging individuality and vibrant life. This progression embodies a path toward self-actualization, shaped by experiences and emotions. The dynamic interplay between form and dissolution, color and emptiness, renders “Daughter” a poetic reflection on growth, identity formation, and the rich evolution of selfhood over time.

“Revolution of Climate Change” (40 x 50 cm) powerfully demonstrates fuzzy logic’s application in conveying complex societal issues and uncertainty. “Nuanced gradations of blues” form fuzzy sets representing the severity or progression of climate change. Instead of stark binaries, blues subtly shift, implying a continuum of states. A lighter blue might have high membership in ‘early warning’ (0.8) and low in ‘crisis’ (0.1), while a deeper blue might reverse those memberships.

This “structured yet fluid gradations” allows the painting to “visually communicate the pressing, complex nature of climate issues without relying on stark contrasts.” It embodies fuzzy logic’s capability to address uncertainty and nuanced interpretations—the nature of climate science and its projections. “Highlighting both urgency and adaptability” speaks to fuzzy rules for decision-making under uncertainty:

• If climate_state is urgent then response is adaptable_action.

The painting becomes a visual metaphor for the intrinsically fuzzy nature of environmental challenges, where clear-cut solutions are rare and understanding requires embracing shades of grey.