Just between you and me, I don’t think yellow has it all together …
Yellow is the colour-equivalent of gold among pigments, but the traditional colour of lunatic asylums, and also of dandies. So, upon just a cursory glance, yellow could be described as rich, cowardly, crazy, extroverted, and a fop. How can one colour present itself in so many different ways?
Maybe its indecisiveness is the reason why yellow doesn’t historically enter into the artist’s palette until much later. Although there are entire hills made out of ochre in Europe (while here in Canada glaciers scored yellow from the earth during the last ice age …) its cave-art doesn’t make use of yellow amid their red and black silhouettes. Maybe cave-painting is so decisive in it’s nature that there wasn’t room for such a unstable voice on the cave walls …
Yellow will focus though—if you manipulate him. Carefully heat a yellow iron-ochre and he’ll become decidedly red. Offer him just a little black, and he’ll become a beautiful green. Simply throw yellow into an open fire, and he’ll settle down into a solid, “burnt” brown. But, while getting yellow to present himself in one way can be useful as an artist, it isn’t really that I want to change who he is—it’s just that his inconsistent nature gives me a headache: Which tale am I ready to believe from yellow?
But this is a a typical problem for me: In my own travels, I’ve found many good siennas, and an assortment of other bright browns, but very rarely a bright yellow ochre on the Canadian landscape …
It has been 9 months since my brother, Aaron, and I spent the week collecting pigment/rock samples from old mines in Nova Scotia and the verdict is in as to which of these samples are usable. While I am excited about these colours, not all of them were what I expected (as you will read). … Read more
While the gross work of pounding the pigment into colour was done, there still remained the work of finely grinding them. This work was done during a demonstration at the Homer Watson Gallery. When grinding with a glass muller, one can’t help but notice that some rocks grind up with ease, but others require a … Read more
After collecting all the pigment samples from my trip to Nova Scotia a lot of work still lay ahead: The grinding and testing. Today I did that grinding. Using my wonderful, 20 pound cast iron mortar and pestle, the rocks were ground up one by one. Some of the rock samples ground up quite … Read more