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The Consistency of Structure Posted July 5, 2019 by Kelsey Rose
Edward P. Morgan, the host of the experimental public television show “Public Broadcast Laboratory,” interviewed Charles and Ray in April of 1969.
In a conversation between Edward P. Morgan and Charles and Ray Eames, they momentarily veer onto the topic of Ray’s contribution at the Eames Office and within her partnership with Charles. Ray’s background in abstract painting leads many to believe that she was only responsible for the arrangement of colors in the various Eames projects, but Morgan and Charles Eames state otherwise.
Edward Morgan: In a tiny office swirling with an unbelievable blizzard of things, [Ray] sat concentrating on a sweep of subjects, which would seemingly choke a computer. Ray Eames’s stamp is on every film, every exhibition, every piece of furniture conceived in the shop.
Charles Eames: In the office here that’s composed of a lot—a lot of people, everybody doubling in brass, looking at problems—Ray, you know, really usually looks at a problem, and the contribution doesn’t have to do with the juxtaposition of colors. It usually has to do with the consistency of structure. And I think that this kind of function is not only appropriate to the function of a real painter, but it sort of tells the kind of training and instincts that she has.
Ray Eames: And I don’t consider that I’ve ever left painting. I’m also so thankful to have been interested at an early age in many things which one draws upon actually as a painter and which we draw on every day.