Starting out as an abstract painter interested in the cultural and political connotations of colors, Roy Villevoye began working with photography, installation, and video in the mid-’90s, often making works based on his stays in the Asmat region of New Guinea. Villevoye confronted his position as (potentially) neo-colonial outsider by taking frontal photographs of Papuans holding sheets of paper in magenta, cyan blue, and yellow—the primary colors used in printing. In fact, Villevoye often turns his photographs into monumental four-color prints, consisting of countless dots of magenta, cyan,