A Quote by David Batchelor

Colour is uncontainable. It effortlessly reveals the limits of language and evades our best attempts to impose a rational order on it To work with colour is to become acutely aware of the insufficiency of language and theory – which is both disturbing and pleasurable.
Language changes. If it does not change, like Latin it dies. But we need to be aware that as our language changes, so does our theology change, particularly if we are trying to manipulate language for a specific purpose. That is what is happening with our attempts at inclusive language, which thus far have been inconclusive and unsuccessful.
I'm one of those people who is colour blind to a certain degree. And that doesn't mean I'm not acutely aware of race in our country and abroad and in the world. I know what's going on, and I'm very aware of it.
Trust your feelings entirely about colour, and then, even if you arrive at no infallible colour theory, you will at least have the credit of having your own colour sense.
I will meet my countrymen. I understand only one language: that they are my countrymen, they are my brothers. You may see with whatever colour you want; Modi will not go into that colour.
Music does not have colour or religion. If I listen to a song, I don't care about the colour, religion, or country of the singer. It doesn't matter, even if it is in another language, because I love the music.
The true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest colour of the unpublished blood.
In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
The language of the moment or, as it were, the language of the order in which we live, is the image. I felt that if I wanted to commune with the public, I should best do so through the language of image. It's a conscious embrace of a contradiction.
I became intrigued with colour theory. The absurd pronouncements of the Colour Institute, a group that decides what colours are hot each year or season, amused me.
For me, pink or lilac is the colour of innocence, it's the colour of love, it's the colour of everything happy.
Put a colour upon a canvas - it not only colours with that colour the part of the canvas to which the colour has been applied, but it also colours the surrounding space with the complementary.
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
I never had the time or luxury to think about inventing my own colour theory. When colour came, I was interested in expressing things that happened around me in time.
... we should not be disappointed that everyday language does not work any longer at the apex of our little theory. It is natural; like poetry, the very reason for the existence of mathematics is that it expresses thoughts and feelings which we cannot express in mundane everyday language.
It is the artist's responsibility to be the oracle, to abstract where you are - that is our responsibility - we're not there to look glamorous. We're there to tune into the frequency of the Earth and the connective tissues of those things that we are responding to - language, colour, costume, literature, poetry, cuisine, perfume - these are the things that make up the desire to throw paint on a canvas, these are the things that create the excitement for building a new language!
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