PROVISIONAL COLOR MANIFESTO

That evolves alongside my practice

Color exists only in relation.

Color does not exist per se: is an evocation of our (largely similar) brains.

White is fragile. Whites rarely agree.

White often looks simple. It is not. 

Colors are deeply cultural and symbolic: they must always be questioned.

For me color is a three-dimensional pictorial atmosphere.

Color’s vision complements a structural / volumetric approach — sometimes preceding it, sometimes following it.

I live and work with color as a physical experience. 

Before theory: intuition.

I am drawn to the cangiante: 

the almost, the iridescent, the ambiguous.

Intermediate colors — those composed of many pigments — 

relate more and generate unstable, shifting balances.

We want that.

Avoid automatisms:

primaries, complementaries, trendy architects’ hues.

Use them with restraint and awareness.

Black + white + red or magenta: caution. Black + white + yellow: extreme caution.

The most beautiful color is the brand-new growth in plants in Spring.

The most beautiful color is a dialogue between a somewhat older hue and a young burst of something else.

Color in domestic spaces is the most difficult challenge.

It must create an energetic field of change

across hours, moods, and seasons.

If a color project appears overly strong in photographs,

it may be more a set or a social-media-friendly scenography than a subtle, breathable atmosphere.

Some shades are inherently sociable.

Others are more tricky and demanding.

No-color preference is not neutral.

Anxiety about too much color often comes from not knowing how to use it.

Color in space is a material manifestation.

It cannot be fully simulated or predicted.

It operates with irreducible doubt and surprise.

It requires trust.

Let us work.

Color the damn ceilings.