artists through the ages appear to have utilised the latest
available technologies and pigments for experimentation;
to achieve the " desired
result according to purpose and intention ",
I can see little justification beyond historical reference,
for any school to hang on to a notion of a limited palette
of red ,
and yellow ;
especially when a plethora of pigments including the " process "
colours, magenta ,
and yellow ,
are readily available in stable, fully mixable, non-toxic
and inexpensive forms.
have demonstrated a " scientific "
basis, amongst other things, for " process "
colours to be universally accepted as the " prime "
colours of pigment. The challenge to the old notion
of red , blue , and yellow is irrefutable.
advent of silicates and UV light reactive dyes, offer
the possibility of solutions, unavailable, even 25 years
ago. With regard to the selection of a medium, " the
choice is entirely a matter of the individual's purpose
and intentions, to be controlled by an understanding of
its properties and potentialities after suitable study
and relevant experience. " If it works — then by all
means, use it.
do not advocate, that we should spend a lifetime, leading
sedentary lives in a studio, in front of a canvas or computer
screen. It is essential, to arise from one's seat, and
explore a world of colour and light for oneself. Observing
first hand, working directly from life, and being on location,
is always a much more valuable and rewarding experience,
usually, full of pleasant and challenging surprises.
Irrespective of age, it is important to be able to challenge
one's own preconceived
ideas and constructs;
and maintain good records, of the journey undertaken.