In 2011 I spent a lot of time in the dye laboratory exploring, developing and realising metameric material as the basis for the following creation of artworks. Trying and retrying to reach the set goal of having two samples, which would have the same appearance in daylight but differ under another light source, I produced well-organized folders full of annotated dyed fabric samples accompanied by their recipes.
Observing the ‘failed’ dyeing outcomes, I noticed the beauty of the produced colour shades and began to perceive them as visual material. These unobtrusive and unintentional colour differences have magic in their own right. Similarity is present, the same colour again and again, though with slight differences. Triggered by the beauty of the similarity of the colour palette, I started to explore the content of these folders and discovered the poetic potential of the ‘failed’ material. The not yet successful output of the scientific and technological exploration therefore became the material for the creation of a series of artworks, the Process Artworks. (Egger 2017, p.121)

Missing Orange, 2013