Olafur Eliasson shows us in the last part of Monochrome, Painting in Black & White at the National Gallery, that monochrome doesn’t automatically mean only black & white.
After a fascinating exhibition of more traditional interpretations, including some staggeringly convincing trompe l’oeil painting, you walk into a bright yellow room and everything becomes tones of that colour.
The ceiling is lined with sodium yellow monofrequency lamps, a colour that suppresses all others.
and even my pillar box red jacket cannot resist the influence of the shadow-free light.
