Painting (3)

The phenomenon of color is profoundly linked to the artistic field of painting. Where architecture and sculpture focus more on form, dance on movement, and theater and poetry on speech, the principle of color pertains to the field of painting. Where does color come from? Physicists will explain to us that color appears if a beam of light falls on an obstruction, a form of resistance, somewhere in the space that is our universe. What does this really mean, concretely? It means that our universe is built (basically) on 2 phenomena, the light and what is not, or more precisely, the shadow. Shadow belongs to matter, to everything that concerns the physical world, incarnated. This way, we see the reality of color appearing between two opposite or antagonistic poles, the light, coming from what we can call the Spirit and the shadow (or the darkness), linked to Matter. These two realities of Light and Shadow do not need to be regulated by any judgment emitted by our human intellect, for they are neutral. Each one has its place and its functioning in the Universe. What is the function of Light? Light illuminates. What is the function of Shadow or Matter? It allows Light to illuminate it and thereby make itself (the Light) visible or conscious.

We can say that between Spirit and Matter there is a constant, uninterrupted exchange that allows the expansion of consciousness. In short, we may say that spiritual growth, inner growth for the human being, is made possible by the existence of Matter or Shadow, of darkness that are used as a screen by Light to allow us to understand, grow and advance spiritually while being incarnated in this world. Let us see how we can link the color to what we have just said. If Light belongs to the Spirit and Shadow to the matter, the soul is in the middle and it is the soul that is bond to the phenomenon of color. The soul inside the human structure raises in consciousness and, in turn, this consciousness is linked to color. As previously mentioned, Light falls on an obstacle or a resistance, concrete, in the physical world, incarnated and thus illuminates this obstruction that causes the color to appear. The color is in this way nothing else than the illumination of a physical, concrete phenomenon and the nature of this phenomenon determines the color that appears. If, for example, the light falls on the grass, green appears, on wood, brown, on water blue or green, etc. Each phenomenon or thing reveals the color that corresponds to its being, to what it is. That means that color and demeanor are synonymous, and there intervenes the realm of psychology, or of the metaphysical understanding. A color reflects an inner or spiritual aspect that has become visible to our earthly eyes. It is important to identify which inner or spiritual aspect it is about and to prevent being limited by judgment of the color itself, that one can find beautiful, or not. Seen from this angle, “colors are”, they are always neutral and at the same time, they clearly express the reality that is invisible behind them. A dead leaf or rotten wood does not express the same shades of green or brown as a fresh leaf or healthy wood. It is that simple.

If an artist would like to paint a new picture that would give the impression of something young or spring-like, it is understood that he will not use colors that are related to autumn or winter, everyone can understand that. On the other hand, in the case of color selection that is based on our personal preferences, we seem to turn our backs directly on this mathematical reasoning. In such cases, all is fine; everything is beautiful and permitted, including aberrant things. When we say “aberrant” we mean that a color that would in an objective context signify “rottenness” is, as soon as it is a matter of personal sympathy, elevated to the level of a beautiful and harmonious color. The aberration is that one can have a predilection for such a color without neutralizing the underlying or the truth that lies behind this kind of color.

The new artist, the painting of the future, will have the foundation of a deeper and more accurate knowledge of the true nature of colors. Only in this way, can art resume its role in this world. The new art will convey precisely what it wants to say, whether it is through color, movement, form or speech. In principle, no color is to be condemned, as long as one respects its character, its language. If what the artist wants to convey is perfectly expressed in the language he uses, the color, then his art can be considered as luminous and therefore, a blessing for this world.

Mother