An artistic praxis: Phenomenological colour and embodied experience

Artistic knowledge resides within the works that a visual artist makes. . .Verbalising or discussing that knowledge is a separate exercise, often left to others, who make their own interpretations and investigations. In this introspective study of artworks spanning four decades, I look into and share insight about a practice in which knowledge about colour, light and spatial experience was developed and utilised. The process of action, reflection and new application of gained knowledge is understood as a praxis—a practice aimed at creating change in the world. The lessons learned are about human embodied experience of light, colour and darkness in spatial environments. The intent of the study (as of the artwork) is enhancement of our capacities for creating sensitive and enlivening space for human life experience and human flourishing, through understanding and use of colour and light as complex environmental phenomena affecting our mind/body/psyche. Four themes arose from reflecting upon the work. These are, in order of discussion: (1) Image and Emanation, (2) Resonance and Chord, (3) Threshold and Veil, and (4) Projection, Reflection, Light and Time. My findings include affirmation that a Goethian science (phenomenological, observational) approach to investigating and unconcealing tacit knowledge—embedded in an artistic praxis and its outcomes—has value for developing a deeper understanding of environmental colour and light. Such knowledge is important because environmental design has impact upon our bodies, our minds and our life experience. This study points to areas of import for further investigation: 1) a crucial aspect of environmental colour is its atmospheric, enveloping nature—we not only look at, but we are immersed in light, colour and darkness. . .that is, in coloured and modulated air and ambient light. . .and we resonate with its resonances; 2) the interwoven relations of light-colour-darkness create emotive, embodied connection between our body/psyche and architectural space; 3) sensitive colouring of the daylight entering our architectural spaces makes light’s cycles and phenomenal expression in our buildings mo