Persephone

“But Jupiter, the mediator of these rival claims, Urged by his brother and his grieving sister, Divided the long year in equal parts.” — Ovid, Metamorphoses, V (trans. Brookes More, 1922) Color. Absence of color. Equilibrium.
The myth of Persephone is not merely a story of abduction and return. It’s a structure. A scale. A chart. Half a year in light, half in shadow. Color accumulates density, then recedes. A rhythm instead of a drama. Persephone becomes a model of movement. Her divided time becomes a formula for experiencing time itself. Spring initiates the cycle. Autumn rebalances it. The myth functions like an algorithm. In this logic, color is temporary. It appears, saturates, dissolves. It redistributes without disappearing. Return is built into the structure. The exhibition moves within this rhythm. It traces the architecture of the myth, offering a subtle narrative. References appear as structures: input, division, return, repetition. The transition unfolds as states — from warmth to stillness, from presence to recession, from motion to pause. Color and its absence are not opposites. They are two expressions of the same cycle. One becomes visible only in contrast to the other. Time here is measured in saturation, in silence, in the length of the pause. Color is a state.
So is its absence.
The question is: how long is the pause?