Can one make the distinction between moral and natural beauty by color alone? When one contemplates how well a sculpture is done or how well a story is written nothing excites the imagination more than to contrast it with a complementary color such as blue and orange even though they may be thought of as opposites. Contrasts and opposites have always given me pleasure; beautifully offset by a greater deal yet when situated within a work of art the two exceed good in effect. When they are edge to edge with each other there is this fine line which appears almost like a terrace above the ground overlooking all of the other colors and perhaps even textures without touching the surfaces. With high regard as part of a palette hey appear as another idea all on their own and I dare say this pleases this viewer even better.
Colors open up a fine masterpiece and then it leads me again to compare and contrast them to notes opening up vocals or percussion. They all invite a similar kind of touching—one that is mastered over a longer time. It is not a polite touching nor is it meant to be or do when applied correctly. At the same time it causes another thing to happen rather than resolves or accompanies another thing into retirement. Look at them standing one right above the other and see images jump across, take a stand, never sleeps, and one does not reconcile by jumping across or returning back to some origin. It is quite the opposite in fact when they threaten each other substantially.
Substantially can these two color opposites represent ascent or decline just in composition? To the relief of these eyes they exist on a much grander scale. The contrasts are working extremely well from where I sit or stand: that opening up of the terrace: beautifully transformed distance. Do they have a distance? Edge to edge the gap to and from is not defined well enough or refined as it is a variable kinesthetic, perhaps even a fractal, a more open one that we sometimes refer to as “variety is the spice of live”. I am not against the prospect that they are open to other definitions—proper assimilation of another view—it is just that they ought not to cancel each other out. Colors are not meant to terminate, they are designed to cause view, saturation, and even temperament.
As I refine my own definition of blue orange I can only come to the conclusion that they contrast not slender in spite of everything else I have mentioned here. It all depends on one’s taste—that there is something noble and strong about these color compliments beyond spectrum alone. I am reminded about symbols, signals and noise—without them nothing can be resolved admirably distinctive. Each thing must be examined from the point of view of the other thing and where they fall; where they are beheld: colors yet.