I’ve been taught that color, or at least our perceptions of it, might be manageable. As an artist, I try my best to take advantage of that possibility. But I know my limitations. Even rather experienced and advanced color theorists in this day and age come up against problems with explaining and understanding precisely what color is and how it acts, despite knowing the differences between additive and subtractive mixing, knowing how the retina and brain perceive and communicate color ideas to us, or knowing how the environment and context of what we see affects our perceptions of color.
What does it really mean if I say that Black is a construct that represents the absence of color and White, one representing all colors combined? Or if I tell you that an orange is, well, orange, but in deep shadow it might appear brown or black, or light yellow? Or that humans have white or black or red skin! What gives a single one of these concepts any credence at all? Color, it seems to me, is a matter of faith as much as of science—like so many things we think of as immutable Fact in our little universe. What both science and faith seek to explain, it seems to me, is beyond the scope of human understanding no matter how brilliantly we study and how majestic and divine our inspiration would appear. What is all around us is supremely complex and beautiful and, to my mind, needs no understandable explanation to be so glorious.
No matter what color it is.