Soul Color Portrait

Image Language Cards

 
A Spiritual –Visual Act of Unending Thought Provoking

‘Soul color image’ is an idea which as an artist I began to explore in 1989 and evolved ever since into an extensive art project albeit uniquely to myself. I actually, instinctively lived soul color image practically from infancy, all my life I followed and acted upon my strength of affinity to a specific hue of one color. I was born in 1934 in the village of Nahalal, near Nazareth in Israel’s pioneering days , growing up as a shepherd boy. After the obligatory Israeli soldiering service and with it an added maturity, I began my life as an artist, living in various countries, absorbing languages, cultures and traditions, a process which intensified my spiritual interests to predominance in my life.

While at my creative pursuits, regardless of scale, medium, duration of commitment, or what have you, an openness to the next was always within my natural inclination of allowing/acknowledging guidance, which was with me to lead the way on. Through my most varied art activities from early on, I recognized in gratitude the gifts of my photographic memory, my total visual recall, and my innate ability to discern the finest of color hue variations, all of which came as prerequisites to enable me to carry on the development of the ‘soul color image’ idea.

It was in 1989 that I first focused on my own singular color affinity by placing, in a moment of vision, the hypothesis of such affinity being , to whatever degree, each and every individual’s even though mostly unacknowledged. Many of my test since then with a most widely varied people as subjects repeatedly and unanimously revealed a decisive affinity toward a personal color hue choice which was most narrowly defined. Such choice insistence was amazingly revealing when a subject of seemingly bare minimal color awareness in his /her life, some months on repeating the test while literally not remembering their earlier choice, were lead spontaneously to the very same nuance of color hue.

This inconclusive investigation which began strictly as an art project was soon divided into three separate branches of inquiry, here however, brief as it is, the art form of ‘soul color image’ is the sole concern.

Few particularly spiritually sensitive individuals whose ‘portrait’ I did have later described their experiencing decisively unparalleled heights of an inner capacity toward achievements unthinkable to them previously. These moments, personal and unique as they were for all the individuals involved, somehow in one aspect identically joined by singular convictions of all the subjects: placing their visual meditative focus on their ‘soul color portrait’ for being the trigger-energizer to that which inexplicably and firstly occurred.

It has been suggested to me that ‘soul color image’ created as portrait could possibly serve as a tool whose visual, meditative , use at times, could trigger amazing outcome results. A kind of sequence which might be explained by the thought of giving credit to one’s ‘soul color image’ meditation producing an affect of linkage to one’s higher soul. Perhaps such narrowly defined personal color of choice definition in itself contains energy to function as a kind of microchip potential of transmission/reception by color power, affecting linkage between the inner self and the higher self. A possible connection whose realm of potential is vastly untold and as such utterly unrecognized.

There are no guaranteed promises in the spiritual realm toward that which might occur, choosing or seeking might or might not be within one’s granted wish to have. As the kabalah instructs: “All is predestined yet permission is granted” . As for myself I hope to create more soular portraits for those who take up the option of –“permission is granted”. In my hope always, such experienced soular portraits could bring about the further reaching understanding needed to maximize potential good for the benefit of one and all.

I write these lines from my geodesic dome hamlet atop a four thousand foot elevation mountain which I named “Orr Maakom”, which is Hebrew for either “place of light” or “God’s enlightenment”. I never lived before in a place where historically blood was not spilled in anger, where no one ever lived at all, but most likely Cherokee Indians and others came to commune or worship, a place where animals come often, seemingly for it’s lay lines crossing energy, a place within the rain forest mountains of Western North Carolina. A place whose magical affects of contentment, serenity, solitude, peace, and a sense of spiritual healing growth is ever about you.

I write this note of ‘soular portrait’ in the spirit of Orr-Maakom opening the ‘soul color image’ idea and it’s options to all, placing it as an introduction and invitation to one and all.


An introduction to a new discovery for understanding color energy, presence, function, and their potential in affecting all of human life.
 
Soulcolor is my title for a concept which first sparked in my mind as an idea for art work early in 1982 on the road to Jerusalem. Being engaged at the time, and for some years on, in an all volunteer effort for the idea and ideals of “Jerusalem”, soulcolor was placed on a low burner, waiting it’s time until 1988. Since then and until now, 2003, the time of this writing , much art work, much mind probing, and much experimenting took place in pursuit of greater understanding of the soulcolor concept. This first volume of soulcolor, comes as an introduction of that which was achieved by identifying, sorting, and crafting, this concept’s components into three individual yet interrelating systems.
 
A. SOULCOLOR IMAGE ---- art works
B. SOULCOLOR LANGUAGE ---- an alphabet
C. SOULCOLOR CARDS --- as game set
 
Since my early childhood and throughout my life as an artist, the pursuit of color to it’s finest degree of determination was my considerable and constant activity. It was my open ended approach in following color ideas through steps of discovery which in a sense formed an understanding, given as it was by the color innate nature, while revealing itself for me to note, to articulate, to structure, and to package as systems.
 


A. SOULCOLOR IMAGE as art works, was from the initial sparked idea and years into preparations and creation of art pieces, a most natural and obvious progression of my way of working. Almost thirty years earlier I formulated my philosophical artistic credo on the principal of oneness, which in practice tightened to least elements chosen with which to create, reductively expressing ideas in my abstract works. As much as soulcolor as art works have reached , to my mind, the highest level of expression in representing my philosophy of oneness, it simultaneously ushered along a most fascinating and unexpected facets integrally inherent in it’s existence. These art pieces produced evidence to having formed a trigger for human potential benefit, by linking for numerous individuals, a connection between their conscious existence and their subconscious.
That most remarkable discovery forced my attention to keep probing color hidden knowledge beyond any terms of artistic sensibilities, philosophies, or any of my previously known parameters.

The soul of the soulcolor title, I chose once all soulcolor image sorting was complete, a time when I recognized the utter uniqueness of each art work that I had created whose linkage reverberated as an imprint of each person for whom that work was done, resonating as self inner portrait, if you will.

B. SOULCOLOR LANGUAGE as an alphabet and potential language became since 1990 an obsession of mine as a voyage into the utter unknown. All my focus was on the unknown within color, no thought of alphabet nor language had crossed my mind once, until the voyage was at it’s definite end, transporting it’s fruits of my labor in their undeniable presence. In front of me lay an alphabet of and for a color language for which little systemizing effort was needed to parallel this 24 color alphabet to any other alphabet, be it English of 26 letters, Hebrew of 22 letters, etc. That sudden arrival of recognizing the obvious in the color alphabet discovery , seemingly simple door opening as it was, was soon recognized to be, to form, the threshold to the vast space of the color language, endowed with complexities, nuances, tangents, linkages, satellites, and reaches, like no other language before. As much as the color alphabet could function in parallel to any other known alphabets, it’s inherent capacity is of simultaneously carrying symbolisms of character written languages, like Chinese, and go way further to communicate a vast vocabulary by it’s integral multiplicity within each color. Like blood red easily evokes the opposites of birth and killing, while simultaneously giving sentiment to a multitude of other meanings, such as energy, primary , heat, life, etc.

C. SOULCOLOR CARDS as a gaming system will surely evolve just as the numeric and symbols old cards have reached numerous variations devised for all users’ pleasure. The soulcolor cards are in fact cards coded by the soulcolor alphabet color chart, endowed by the same values, yet set for the reading of the game of life. Just as the 24 color alphabet is designed, like any language alphabet, to serve as components in the creation of language to convey and communicate words of meaning, so are the cards. The cards are the soulcolor alphabet in card form and likewise will serve to convey words and meanings . Yet cards are in possession of communicating further knowledge of immense reaches via it’s reading system. Both cards and language as color systems, having the obvious visual connection as they do, their stronger connection however, is not of an obvious availability to all. Their true nature and connection is their readability which is within an allowed reception of their kabbalistic premises.

The Hebrew word kabbalah translates to: reception. Old Hebrew beliefs, from ancient times in regards to the hidden knowledge is endowed in the principle function of the kabbalah. That belief of function stems from the understanding that all knowledge is safe in righteous hands and vice versa. Even though every human is endowed by some degree of reception capabilities, of spontaneous intuitive nature, it is only the gifted few who in all cultures and traditions, throughout time, could penetrate, to the degree of their gift– their reception, any and all of the kabbalistic languages. These languages, from the seemingly most simplistic of reading tea leaves, to the most complex, by now the fully computerized of astrological chart producing capabilities, and all the in between, they all require their practitioners’ gift of reception, apart of such persons technical know how. And as for their clients, the extent of their finite benefit quality equally depends on the degree of their own allowance , no less than their chosen practitioner’s allowed reception.

This soulcolor volume whose goal is an introduction of it’s content, will be followed by other publications about soulcolor energy, and it’s complex connections to other energies and inner workings within the hidden knowledge.

Recognizing that much which was said until now falls into the category of from the unknown to the fantastic, just as it was for me on the first encounter, one must remember how normal it is with all discoveries. And yet, incorporating in this volume, other individuals experiencing soulcolor, their reactions and observations, these inclusions are done principally for their obvious contributing merit, they do by default bring about a measure of grounding credibility. They form a testimony of reality brought about to people in their life, by experiencing the ideas which are introduced in this volume.

SOULCOLOR IMAGE

My soulcolor journey of discovery and learning was the second of three such journeys, each in it’s turn which took over my life completely into the unexpected, the unknown, and the wondrous-fantastic. All three journeys I began as the artist that I was and all three, quite similarly, took me within energies and inner knowing to function in pursuit of their goals as though guided through skills and functions to which I had no previous formal training. Apart in subjects in countries in varied durations, makeup of complexities and much else as all three were, quite similarly their innermost base of reasoning came to serve humanity as a whole. If the first for Jerusalem took 9-10 years and the third about York in England took 5-6 years of my life, the second, soulcolor, a journey whose initial spark came 1982 is with me 20 years on, and may very well be central to my life’s creation for 20 years more, if not for the rest of my life.

My soulcolor journey began like so many others, like most of my pure art ideas, to be conveyed by materials, to become a group of art objects. As much as in my working past ,each such progression of art object making brought in it’s turn within me a sense of new reach, and some brought a sense of unique achievement, soulcolor, like no other art work that I have ever done, within it’s first material realization, proven to be by far my greatest art creating leap, speaking purely of it as art work.

As it turned out the very germ to soulcolor’s initial spark, it’s earliest innocent spontaneous showing, came to evidence by me at the tender age of less than two. Bear with me, if you will, as I describe briefly the circumstance, which I believe to be both integral and pertinent to this chapter.

My life began in the village of Nahalal, Israel, with parents who belonged to the most extraordinary generation of highly educated secular European Jews, who rebelled against their historical 2000 years of prayer: “next year in Jerusalem”, who abandoned hope for a Messiah, objectively looking back at their inheritance of unending persecutions, saying simply- enough!
They became committed pioneers who believed in the motto: “if you will it, it is not a myth”.
They followed the Zionist dream of recreating a modern Israel by creating a nation and a country. As pragmatists pursuing priorities, they pitched tents and became farmers. They abandoned religious practices while reviving ancient traditions of their heritage including the Hebrew language.

My father who spoke eight languages and read philosophy and poetry of the classics chose to be a shepherd, learned Arabic, befriended the Beduins, and eventually was shepherding in partnership with Arabs. My mom who also spoke eight languages, was a unique educator of the young, turned healer for those young inflicted by emotional ills. Somehow, not quite able to articulate how she did it, by a magic like of her spontaneous gift, she dealt for years with complex inflictions, repeatedly dissolving them effortlessly in no time. “Every child I ever met, I loved with all my heart”, she used to say.

By default, I grew up to be a shepherd boy, roaming my charge of goats and sheep on the hills near Nazareth, using my ancient herding tool, the slingshot of goat hair and sheep wool, woven for me by our Beduin friends, herding by careful stone shots, the way mid-eastern shepherds forever did. The way the shepherd boy, David , did. Our first home was an earlier settler’s one room shack, still standing today as a gardening toolshed. That was a home with kindest of neighbors of which 69 years on I think of as my home, second to none, I think of as the richest in love and hope and belief of secular people with a constant prayer at heart, of dreamers whose unparalleled magnificence of idealism filled our air, our every moment. Such were my earliest growing years feelings and thoughts, such are my to date recollections and convictions about Nahalal. As hard physically as life was, one neighbor’s manner may exemplify our collective spirit and existence in those days. At get together times, he would have you open the Bible anywhere and read just a few words, where he would pick up by memory to flawlessly complete verse and chapter and beyond.

I was so very lucky and my good fortune, as I understand it now, was reflected in the most symbolic of life guiding ways, before I reached the age of two when I first took pencil to paper. My drawing of a hammer done in a one line of continuity, at my mother’s request, was of a total co-ordination of eye to mind to hand and there it was. That discovery , stunning as it was for my Mom to begin with, was ever after taken in it’s stride by me as it truly charted my life for good by pointing my way. Of being an artist all my life, and as I see it, not by choice, of beginning to create truly past maturity within complex abstractions and conceptual understandings and projections attainments, as a way and belief of my life. All of which , as I see it on hindsight, brought much other than art and creativity goodness to my life.

It all began with my earliest of this life’s recollections, once I stunned my Mom with my drawing ability. On the next trip of my Dad to town, he brought me a set of color pencils, with which, as I recall , I drew a cypress tree, then another with a hammock in between, a house of red roofed tiles, some flowers and greens, and another slender tall cypress with a thin brown soil below, and the light blue thin line atop the page, and a blazing yellow sun. Much white space was left on the page which as I recall came to represent the blinding strength of light ever present, forcing my constant squint. How at less than two years of age I did it, is beyond me now and obviously defied all explanations by my parents then. Committed pioneers to the Zionist historical cause as they were, my so very obvious life line did not quite register with them, thus had no bearing on my future shepherding, and remained within them both as curious yet superfluous in regards to any serious attention, encouragement, or assistance eventually obviously destiny had the upper hand, and my knowing of being an artist, past military service, I became one.

And here comes the linkage to soulcolor of 47 years prior to it’s 1982 first spark in my mind. When I completed my first color drawing, I picked up a purple pencil which I kept aside, asking Mom to show me how to write my name. Purple was my favorite color, all the countless purples were, I wrote all my life in purple, purple upholstery covered central furniture of my home for decades, so was my working chair, and I almost always had a piece of my garment purple, and so is now my geodesic dome studio in which I write these lines. My birthstone is Amethyst, purple has always been my favorite color and for the longest time now, my color of identity, my here and way beyond being.

ONENESS, being my most central philosophical interest in art , lead me to the creation of my very most defined purple color as my symbolic portrait began that art idea ball rolling on the oneness path while in parallel the oval form, here again- the very most defined one of my choice, rang it’s truth for me. In my mind’s eye I saw my portrait complete while the driving force of creation was fueled by the realization of an achieved oneness like never before, whereby one color, one form, no front or back, no up or down, no left or right, an all over given wafer like of curving motion in space, or drawing by it’s edge, of sculpting relief by moving in the third dimension, of a one color painting. What an exciting realization that moment was, and that whole trip within my mind may have lasted less than ten minutes.

Then my focus shifted, energized by that idea’s true and greater horizon, I thought that others must have their true color, recognized or not, as their favorite, a recognition of which I could assist by my color skill to be defined to it’s precise point of hue as well as of their oval degree of choice to contain their color by.

Here again, my excitement was hinged by my frame of references til then: I was about to create an art work group of portraits, whose subjects will select both the form of oval degree and the color with my assistance and my final execution. That state of excitement rushed my choice of first subject when I rang in Lantana, FL my old friend Lucy to set up a first experimenting time. Lucy was an intellectual and of much art design and architectural awareness of both Western and Far Eastern experience. Lucy left our session with a six inch oval shaped cardboard colored on one side, being both oval and color of her own recognition and choice. She left with my request to return to me with any thoughts or feelings that she might have about it in time. Both of us thinking strictly in art terms, throughout our time together.

Within two hours, her phone call came. “My dear”, she said, “you’d better sit down ready to take some notes as I have quite an amazing bit of new for you”. And amazing and even bewildering notes they were. She went on to report : “Being the artist that you are, all that you do, has the unmistakable stamp of your artistry by feelings, thoughts, plans, and all visually powerful solutions executed by materials to art work. This time however, instead of strictly your visual pure art involvement, you are simultaneously involved in a pure innovation-discovery of a spiritual nature, the likes of which I never experienced. As I barely have begun to look and wonder of that which happened to me over the past two hours, I would not presume to here pin it down, yet I am utterly convinced of what I just said.” She went on to say: “To explain my conviction, I have to confess to you, to a side of my character that you never knew. I am the worst procrastinator that you ever met. Bills go past due unpaid, accruing penalties on my desk, friends’ letters lay months unanswered until some are no longer friends. My job, my weekly column writing is unwritten til repeated phone calls are concluded by a motorcycle messenger ringing my doorbell to announce his waiting outside. Returning two hours ago from our art experiment, I placed my color oval centered on my desk and sat staring at it, then found myself two hours later with all bills paid, a few letters answered, and three weeks ahead with my column complete. Never, ever, in my life before, such productive organized speedy effective efficiency was within my capability, and your art idea of my color oval did it for me, it brought out to be that which I never knew to be within me as a dormant potential. As though awakened to it’s full promise of being called to immediate function, as though triggered to it’s full potential by my meditative unknowing inquiring look into my color oval.”

Objectively if somewhat modest sounding I asked, “why do you connect your color oval to your burst of performing, and why do you link it all to the spiritual or otherwise unknowns?” To which came her unarguable response: “my life’s work for much of my life has been to reach one’s inner self, one’s soul, for healing and self knowledge. And as much as I have no explanation yet for what has just happened , I am convinced that your color oval portrait, most remarkable abstract art of oneness that it is, works simultaneously and foremost within that little known realm of linkage between the conscious and the subconscious and most likely way beyond in an utterly unique and unknown energy of untold potential”.

That single and brief telephone call from Lucy started me open eyed on the road which shortly before intuitively I began traversing, limited in vision as to it’s true direction as I was. Delving to the depth of what has just unfolded began immediately and took stages of months to fully sort out and identify, years to experiment with and accumulate confidence of great awareness, to allow this very process, my writing it down to be published. This span of more than 14 years seemed necessary to gain the perspective of sure footed leading on the way toward sharing soulcolor as image, as imprint of one’s innermost self, as linkage by one’s portrait to one’s soul.

As soon as I first sorted out in my mind my own color into an art work, came my impulse to test such similar possibilities within others. My chosen first individual for experiment, my friend Lucy, was followed by a considerable number of others involving them in the cause of greater knowledge for soulcolor to be gained by each and every encounter. It was a process of constant unveiling of further awareness to the soulcolor untold dimensions. Just as involving Lucy for soulcolor revealed the magical connection potential hidden within her soulcolor, by experiencing the knowledge of what happened became my big leap of understanding from my previous position of strictly my own purple involvement, so I believed other people’s recognition and experiencing their own color , would push soulcolor knowledge ahead. I went on to experiment with numerous individuals, gaining knowledge each and every time, only a few of which I chose to include here, to illustrate that which enlightened me by them.

In London, England, the little boy Edward, not quite four years old yet, having a nice evening bath, past dinner, past playtime, before bed, was talked to softly and lovingly by his Mom , when suddenly in a little boyish assertive manner of anger- no-anger like tone, Edward stopped his Mom to say, “I’m not a little baby no more, Mommy, do not talk to me as if I am one!” His Mom in her best unfluttered way softly and most attentively turned her son’s voiced objection around by asking, “do you remember what it was like being a baby?” To which came Edward’s instant response in a voice of slow and wondrous recollecting, “Yes Mommy.......it was yellow”.

This extraordinary spontaneous illustration which the mother detailed to me by phone the following morning knowing of my soulcolor pursuit, was so fortunate for me to have then as a road sign on this uncharted path of soulcolor learning, no less than now as I share it with you here. I knew previously of the fairly large body of documented childhood memories and knowledge beyond any of these children’s actual accounted for life experience, yet none of it was in regard to color. Edward’s Mom and Dad in the following few weeks brought to my knowledge others of Edward’ s soulcolor awareness encounters to serve as a broadening evidence. At a point of Edward’s extreme anger with his father, being most verbal yet lacking any of the English vocabulary’s words of insult, in a state next to a rage and of considerable emotions, he confronted his father to say what appeared to be the worst and most injurious that he could think of , “.........I hate your color..........” , said Edward.

Both parents at another time as a patchwork of Edward’s color happenings, described his first awareness of New York’s taxis being yellow while viewing a movie, which led to a relentless campaign to be taken to New York for the must have of a yellow taxi ride. Then a yellow rubber boots sighting in an advertising, which became a must, then a yellow scarf, and on and on.

Diane of Richmond, England, was sent to me by a pair of mutual friends. The young woman was most eager to define her soulcolor and most pleased to take home her color test sample patch, promising to pass on to me any and all outcome by it. The young woman’s enthusiasm, coupled by her open mind, gave me hope for new learning as it did, could not have possibly prepared me for the unexpected understanding gained by her experience. Not hearing from Diane for weeks, I made a point to see her and find out her soulcolor experiencing outcome. To my initial dismay, I learned how her brief stare at her color, brought about her growing sense of sadness, for which she put the color patch away. Being most intelligent and trained in deep meditation, as Diane was, A short time after, and in trust to my belief in soulcolor’s potentials and benefits, Diane faced her color patch with determination for a long meditation. Her words paraphrased: the soulcolor absorption returned the sadness which turned into depressed feelings, then anger. At which point she put away the color patch under some clothing, face down, while all three emotions stayed with her with lingering effect days on.

Bewildered by the appearance of such negativity triggered by the color with Diane , I became determined to get to the bottom of it, and to my dismay, “bottom” if was. It took weeks and months to acquire the information which I was after, with much diplomacy and sheer good luck, not knowing initially in which direction to search. The young woman’s extremely abusive childhood proved to be the cause of a most awful, unwholesome, personal life, of literally guttering herself. Like so many inflicted by childhood abuse, living the path of self perpetuating abuse, while being in constant effort to hide it from one and all, primarily denying it from themselves. Once I recognized her past, my notion of negativity about soulcolor was dismissed. As it turned out, Diane experienced her color in the most positive, possible, priorities of benefit. Had she allowed herself to join with her soulcolor inner linkage of honesty, that initial glimpse of truth about herself, could have been a most beneficial first step for Diane Obviously not Diane, nor I myself at the time, understood enough the soulcolor functions of potential benefit.

Just as much as little Edward exhibited the obvious identity connection to yellow , a need for it’s surrounds, it’s possession, it’s experiencing and way beyond that in his awareness of color as an identity in himself and others. The following episode came to manifest by awareness of others, soulcolors’ means to satisfy the most human of loving needs.

My New York City friend’s son Peter at age eight, lost his most favored uncle , who died. Peter’s way about colors was an oddity to his parents, once becoming aware of it, Peter constantly looked for his lost uncle’s color. He knew the color to be of a pale green olive nature, slightly yellowish, a color not to commonly seen, being of such specifics and rarity. Peter kept looking for it quietly and privately, not involving his parents with his quest, which was mostly satisfied through color magazines, their advertising labels and wrappers of canned goods, etc. Peter felt no need to hide his compulsion and felt no discomfort in discussing it, for him it quite obviously served in his need to heal his loss, to contact his uncle, to function as visitation to a loved one’s grave. All of which Peter a few years on , told me of himself, quite unashamed and comfortable, possibly by realizing my interest and knowing, obviously being quite aware of not knowing before our chat anyone else with whom he could have had such conversation. He recognized my full understanding and appreciation of that which he revealed to me when in a kind of gained confidence moment, yet with no hint of bravado in his statement, Peter went on to say, “I have known my parents colors all my life”. A line which startled his father, who heard it with me for the first time.

In Tel-Aviv, Israel, my friend Heruta became a subject of one of my first experiments, when I left with her as I did with Lucy in Florida, a small piece of colored oval cardboard, which I considered to be a testing sample in my hope and wish for any and all responses. Heruta is a lawyer who was then setting up her office , and was short on clients. Her prior years of police work, legal as it was, in the main consisted of criminal investigation, a background which drew to her door potential clients whose hope lay in reliance on her background. Some weeks after our experiment, she told me her experiencing of soulcolor. A potential new client, whose fame of wealth was well known to Heruta brought her the case of his son’s seriously illegal driving problem, an encounter which had just happened and was due in court within days. Identifying her client’s emotional connection as a serious option for much future legal work should she succeed, in spite of knowing fully well Israel’s inflexibility toward traffic irregularities, Heruta took the case . With little time to prepare, her initial appearance was literally thrown out for being too obviously in the wrong, to be allowed a trial. Having by law a second chance within six weeks, she began her efforts by calling old colleagues for advice and help, and in no time reached the last of dead ends and pulling hair time in her frustration. As her day in court approached for that case, not one single bit of anything was in her hands to justify any defense. In desperation of that morning, sitting in her car, she set her soulcolor card upright facing her behind her steering wheel. As she told me, knowing fully well how dangerous it was, most of her half hour drive was hypnotically devoted to visually meditate on her card, while peripherally avoiding accidents. Out of her car walking to the courthouse and her specified courtroom, she kept holding the card in front of her with a fixed stare at it, answering colleagues greetings minus any head turn. As she got into the room, to her horror, she found the very same harshly dismissive judge of last time, again being on the bench. Within her utter color focus, forgetting the judge, she sat waiting to be called, among the many lawyers waiting in hope to argue their clients’ cases, and be allowed a trial. She kept staring in total absorption at her soulcolor until her name was called, at which point, ignoring who the judge was, and how impossibly black and white her case was, she stood and argued the best speech, in best confidence as a lawyer, of her life. It all flowed in perfection of total winning conviction, a performance like none she ever believed herself capable of, a virtuosity whose one and only preparatory in conviction she believed to have been, her focus on her color, of which the judge could not deny, giving her case it’s day in court.

Rabbi D. was my friend for some years when I first tried enlisting his vast knowledge to hopefully contribute whatever he could toward my own confidence about soulcolor. Beginning as I did as an artist, and having no thought of anything outside art considerations, yet being open to accept the surprises of other than art matters as they kept coming to evidence and brought about my need to seek some metaphysical point of view to gel my work together. In my mind the good rabbi’s life of spiritual preoccupation might bring some reflection to shed light over my abstract art territory and it’s connection to the unexpected happenings which kept coming to which I had no frame of reference whatsoever. I posed to the rabbi my question quite simply: “What is it that I’m doing about color which is beyond my work as an artist?” Pausing momentarily he then in the calm of his warm way answered in request for me to open by my left hand the Bible which was on the table between us, wherever it may fall. Then he took the book and began to read aloud: “Genesis 9, God’s covenant with Noah, Verse 13........I have set my rainbow in the clouds and it will be the sign of the covenant between me and the earth”.

“You understand?” said the rabbi, I said that I did, yet I would prefer the rabbi’s own words of interpretation if he would. Then he went on to say “the covenant of God with Noah is with humanity to come. The sign of that covenant is symbolic of it’s content, God is symbolized by the white cloud, humanity by the rainbow of all colors. White is the beginning and the end to all colors. By the good book, you got your answer, your work deals with a color principal which relates to any living human soul. When a person comes to recognize a unique affinity to a specific hue of color, as you have assisted some in your color skill to define theirs, that color is, for lack of a better word, the imprint of their soul. This art work making principal which you devised, as a oneness conveyed by one single color, which is recognized and chosen by your collaborator, is in fact that person’s soulcolor imprint”.

Such was my own experience over the passage of time, with my chosen color, that purple pencil with which as a toddler I first signed my name, then all my life choosing purple as ink color for writing, the color that I liked best, felt comfortable with, a preference which became an affinity , years before the soulcolor idea arrived, purple was for me my very identity. Identity which finally in 1982 sparked me toward the soulcolor image art work.

IDENTIFYING SOULCOLOR

Enlisting friends co-operation in the process of creating soulcolor image art works, I recognized my position to be that of an assistant functioning in guidance to people who repeatedly looked at color like never before in their lives. We processed two same color hues as card samples, the color and it’s oval containment were chosen by my collaborator, who would take home one of the two cards, while I kept the other as our focus of future communication. My initial communicating and guiding was helped by the Royal Horticultural Society of Great Britain’s flower and leaf color ID system and the Panton Company’s pigment sample books, both having many hundreds of shades. The onlooker was given by me the restriction of choice to a single shade of color which then with my watercolors, I began to push and pull that chosen color to lighter or darker, warmer or cooler, tinged it by gray or other color touches for clouding or otherwise sophisticating, etc. Invariably that process of assisting my collaborator came reasonably fast to a decisive conclusion with an absolute sense of correctness by the color chooser. The three examples of the color test given below was chosen by me as one of my confirmations to the validity of the process.

Rachel of Ramat-Gan, Israel was the kind of person whose infectious exuberant spirit had it’s flip side of a jerky unexpected negativity best symbolized by a stick stuck in a rolling wheel, action which mostly hurt herself. The one and only true consistency in Rachel’s life was music, which at times reached true passion, appearing to be stronger than life itself, yet even about music, let alone about anything else, the flip flap was Rachel’s inescapable spontaneous mode. Whatever subject, whatever exchange, whatever Rachel said or appeared to be one time, I forever was surprised and fascinated when the next time around that same Rachel was not the same at all. By her clothing choice of color combining I knew for certain that her color awareness, to put it gently, does not reach very far. In short Rachel became my perfect chosen subject for a dual color test. The first of which went the normal way that most tests progress, within an hour or two all the little steps and chats, notation taking, and watercolor patch making was done. Her color was what I called Persian green, a beautifully medium strength bluish-green so reminiscent of the ancient Persian ceramic glaze color of such green used so widely in Muslim mosques surfaces and in Arabesque decorations, in harnessing calligraphy of Koran’s quotes on buildings throughout the middle east. I took three months or more before I called her again to favor me by her repeat session of her soulcolor recognition, excusing myself for having lost her preliminaries, a copy of which I never gave her initially. Rachel. came quickly to the greens and took similar time to reach her very initial choice, appearing to go through the test as though for the very first time. When later on my own I did compare the first and the second samples, they looked as though both came out of the same color tube.

My next example of soulcolor recognition came to represent what I considered to be a ‘color blind’ individual , and not of the medical category, these are people for whom any color be it red, yellow, blue, or anything else, are just about the same. Rare to come by as these people are, such was Ann of London, England, when I met her, being sent over by a mutual friend, I knew next to nothing about her, and when she came to my door, I saw the one and only time in my twenty years as a London resident, a woman in her fifties dressed in light pink-lavender thin fabric training suit, a definite southern California person and an impossibility for a Londoner. Assuming that Ann had most definite ideas about colors, to disregard British society’s rigidly somber traditional most pervasive attitude on the subject of the proper color for clothing. I was quite at a dilemma to recognize her color blindness. For some time she flipped the color samples by their hundreds, roaming her fingers continuously from hots to colds, from darks to lights, without any resemblance of direction to her selection process of being on some track. She actually appeared to be slightly on th mesmerized side and as I found later she was involved with hand laying healing and meditation. After some twenty minutes, Ann suddenly placed her index finger on a darkish gray tinged blue and all of our dozens of water color patch refining efforts thereafter hardly contributed a thing. Her certainty was absolute.

My third chosen example was the most elegant, bejewelled, talented, generous, sophisticated Parisian man, my friend, Guy I met him years earlier as a guest in his extraordinary hotel, a centuries old, well purposed built, bordello, which he renovated and decorated to be one of the most charming and pleasant places. As you entered into it’s center , you found yourself at the bottom of a circular shaft seven stories high with a glass domed roof, with a spiraling staircase climbing up, once upon a time leaned upon by the ladies in front of their doors for the “Johns” choosing from below. Guy is one of the most fascinating people I’ve ever met, a man of vast social and charitable involvements, a man whose sixteen or seventeen generations of family record keeping, brought his considerable business success to serve all those he could help, young or old. A man who at a senior age with nine close friends, took possession of their five new Electroglide Harley Davidson motorcycles in Maine, then for over three months, diagonally riding, wiggled their way, left and right to southwestern California. What a man! I truly admired Guy as I invited him to identify his color. No other such recognition happened faster than his, it was a fire engine red, which he instantly settled on. All that life experience, all that refinement of his, in all the times that we met, I never saw such blazing color anywhere in sight, his choice I would not have guessed for Guy ever.

Interpreting as one could, symbolisms, meanings, and pinning down of an individual’s unseen characteristics of personality traits, are surely part of that which comes with an individual’s uniqueness of color. Interpreting color and what it stands for , I never attempted in regard to any individual’s soulcolor portrait, while in the making or beyond. Such interpretation does belong to the other two chapters , Soulcolor Language, and the Soulcolor Cards.

SOULCOLOR PORTRAIT MAKING

This is a brief of the technical step by step making of the soulcolor portrait.

TESTING: The subject of the portrait is the person whom I assist in the selection of his /her recognized choice of color as well as the recognized choice of oval degree, the two main elements with which I execute the portrait. Both choices are uniquely done by the portrait’s subject.

THE OVAL: Done as a brown paper template, cut accurately to it’s edge, then placed on an expanded aluminum sheet to mark the oval’s edge. This light gauge aluminum sheet of evenly spread throughout by diamond shaped holes, leaving thin metal connections between the holes, is then cut to the oval precisely. Curving the aluminum oval by hand and with a rubber mallet, is a process which brings the aluminum oval sheet to a flowing curvature throughout in continued variations, leaving no part of the oval in a flat condition. Such curving preparatory converts the two dimensional aluminum oval into a three dimensional wafer-like in form reminiscent by shape to the sliced crispy potato chip, which as such, forms the skeleton.

MATERIALS AND FUNCTIONS

TAPE: The entire aluminum oval wafer is then taped by a tightly clingy wide masking tape strips with minor overlaps in one direction throughout on both sides. Then by second layer in a cross direction to the first layer in the same manner throughout.

JUTE (BURLAP) COVERING: Gluing jute tightly includes a minor overlap over the edge of the wafer, then all excess trimmed from the back side. The very same process of gluing jute is done to both sides of the wafer, then with candle fire carefully burning away the excess hairy fibers from all surfaces.

PRIMING: A gesso primer is then applied two or three times all over, then scraped with a razor blade, then sanded to minorly reveal the jute fibers for greater oil absorption by the jute, thus reducing sheen from the final oil painted surfaces.

OIL PAINTING: The chosen color hue is mixed in an oil paint thickness equal to a commercial tube consistency, then applied by a painter’s matte knife throughout the form’s surface in an even layering of criss cross application motion to minimize and even up all surface texture. The pigment application is carefully layered in thickness which allows more or less of the white surface below to come through, thus defining the exact shade of the color pigment. That process is done on one side first, then allowed drying time of a couple of days before processing the primed oval in the same way on the opposite side.

SOULCOLOR IMAGE AS MY ART WORK

As by nature, creativity is a process of an unveiled mystery, not quite fully understood at it’s point of spark, from which point and through it’s creation, it’s entirety comes to be. Which portion within that process of creativity is inherent within the artist ,and which is the given, coming within as it does, coming from beyond to blend into an artist’s intuition and knowledge within the creation? Where does true knowing prevail and where does intuition lead the way ? These are questions that in all honesty I could not ever place definitions upon, precise in my work, reductive, purist , pre-planner as I was, I forever left those questions unanswered. At the outset of any such early spark, I always felt riveted, quite mesmerized and deeply in an alpha state of mind anytime a new concept of art was with me in it’s birthing process, which forever was a most personal, intimate, and utterly alone time. While in the execution of my art works I have always sought the best possible assistance from craftsmen when needed ,and was excellent with collaborating. Never before soulcolor in my art life, nor to my knowledge of any artist’s life, an essence of creativity, the heart of an art work pre-execution, was in collaboration. In the soulcolor , the choosing of color and form, which is most of choosing needed to that given art piece in process is not done by me, I contributed only by serving with my skill as a technical assistant.

Obviously the initial spark and much that followed for and about a soulcolor as art works, happened entirely within my mind, happened within my well trod territory, similar to my decades of life with my own purple, it happened to achieve my best possible result of oneness art, of my art pursuits.

I chose to articulate my oneness in my art interest by symbolically pointing at a crystal ball, to my mind what I have achieved in soulcolor portrait art pieces, physically/visually, having nothing to do with crystal balls as they are, came closest to articulate, demonstrate, and represent the crystal ball emblem of the oneness art philosophy of any art I had ever done.

A crystal ball in it’s oneness of form, surface, scale, material, texture, and color hue in one, has no up or down , left or right, front or back, it has no preferred viewing point, lighting point, placement point, or any point. It has the obvious existence of instant and total grasp by a glance of whoever casts an eye on a crystal ball and yet........ some mystical fascination leaves in us all the sensation of inconclusion, of things to come, of a promise beyond it’s all transparent physical appearance, in spite of the crystal ball’s instant total grasp.

The philosophy of oneness in my art came to acknowledge an intuitive trend within my art work. I felt being led to lead, to show the way, to exemplify toward greater concentration, toward reductive, minimizing, more pure art which while being crystal ball- like by it’s physical oneness, had to carry within it’s haunting fascination. Oneness art’s justified existence comes by such an energy which transports one’s sensations and wonderings beyond the physical and beyond the given time in it’s presence.

Any and all soulcolor portraits as art pieces incorporate into oneness select elements of art making components, blending them into one another to a state of inseparability. Each and every soulcolor portrait is a painting which is at once a relief and a sculpture. It is an object to be hung, leaned, or placed on a pedestal in any and all directions or positions, all of which are equally correct. It has no front or back , up or down side. It’s form, the oval, being gently curved into the third dimension, takes along it’s line of edge, thus converting it’s drawing into a French curve in space, into a sculpted parabola, in fact taking independent components and by poetic-like means rather than by force crafting them into a soulcolor’s oneness, which originates and metaphysically is evidenced by few independent elements within it’s perfected union. That perfected union like so much of my art works prior to my soulcolor art, leaves no option for the traditional artist’s signature. If in previous art groups of paintings I signed the back side, the soulcolor pieces in their pristine surface all over, having no back side, my signing was replaced by a coded system of an undisputed identity marking.

REFLECTIONS

The soulcolor concept being with me since 1988, initially as my art work, then evolving into this introductory manuscript of three justifiably separate thrusts of my effort, apart as these categories are, their conceptual source is of one single origin. That point of view which in clarity evolved with me about soulcolor years into it, was one of the overviews that I acquired along with countless other observations. From the factual to the theorizing points which served as road markers for this process of exploration and discovery, through which intuition/reception rather than known knowledge were the operating mode. The few notes here below chosen for inclusion, came to exemplify in relation to the rest of this volume and be of an introductory nature. While the soulcolor image as art work will be viewed largely by art criteria, it’s source of origin which runs through all three soulcolor categories, will dictate by default a much larger detailing explanation to the soulcolor language and soulcolor cards, whose complexity will require a far, far greater effort on my part to begin with, and most likely on the part of countless others later on.

Being the artist that I am, being a self taught person of no formal training to any and all that I know, possessing not one certificate, not even of my kindergarten attendance, none of my reflections are noted as conclusions, but serve as part of my life journey’s personal journal of the observed as worthy of it. I have however, by my open minded nature allowed for hypotheses, welcomed the unimaginable, sought new potentials, hoped for impossible dreams within my belief in their possible realization as matter. As in the past, such options at times did come my way and engulfed my life in total absorption at such times , electrified in goodness as I was, I never allowed myself the presumption of imposition toward anyone. One of my notes came after much comparative searching and scrutinizing every known color system to date. To my belief, soulcolor is an independent phenomena of color energy, whose knowledge could bring untold potentials of wide ranging human benefits.

As much as the soulcolor discoveries are not equally attainable by everybody, the soulcolor image, the notion of a personal innermost affinity to a single color hue is decidedly attainable by all! And such color belongings and their potential benefits are! By that I am throughly convinced.

Just like any human life in it’s passage of time experiencing and growth, so does one’s soulcolor keep acquiring the imprints of such actual life’s layers , reflections whose color shades appearances, just like in real life, comes and goes. Just as hardly any living person is of one single unity of emotions, beliefs and actions into a one and unique purpose to the exclusion of all else, be it of lofty ideals, or of the mundane and material pursuit, they all will etherically register into color all that which came to be. Be it complex and of multitudes, soft or intense, just as in real life’s facets of true involvements, soulcolor registration will imprint life’s acquired experiencing of growth or reversals. However such soulcolor life progression registry was not nor will it be given for all to see as such sighting is part of the hidden knowledge reception given only to the chosen.

As I have come to believe in regard to soulcolor image, one’s station in the continuum of the soul’s journey of evolvement toward completion, is represented by one’s soulcolor image, and as such being in a constant state of change. Such change may not be noticed on a frequent observation, and like so much more that impacts one’s central color, life’s passage events do leave their footprints in color marks.

In regard to the oval, the container of soulcolor as an image, it’s choice, it’s necessity and it’s inseparable part here as commentary ,was given to me through a friend in the most concise if uncommon choice of delivery: “You have been led to the oval for two reasons.”

1. The oval is the shape of infinity. Time bends and created an imperfect circle. Infinity is time without end. The oval is a line with no end, and the shape is the alteration of time by experience. Each experience is registered in time. That experience may be positive or negative bending time with it’s variation. You see the portal of infinite time.

2. Each oval creates awareness of the tunnel between dimensions. The degree of the oval measures the destiny of the soul. There are an infinite number of tunnels. Identifying a person’s tunnel allows one to become aware of the degree of unity. As the ovals approach a circle, unity with all dimensions occurs. The more non-circular, less degrees, such ovals reveal the degree of non-unity. All approach unity with time.

A GLIMPSE OF OVERVIEW BEYOND SOULCOLOR

My initial meeting with Rabbi D. in regard to soulcolor, led to our subsequent numerous meetings in the years that followed. Each and every time these meetings brought me much learning of growing insight into the hidden knowledge, the essence of which I am to share here with whoever cares to know about it. Linked at times with the soulcolor concept as these teaching descriptions were, their main aim was to create a greater openness and understanding by me with which I could bring greater content of meanings to the soulcolor as system. My selected bits of teachings are here included in question and answer form, as they were given , if partly paraphrased for better reading. Rabbi D. invited others to bring in their share of teachings, individuals whose origins were from India, China, Egypt, Greece, America, and elsewhere. They were all of a piece, relating from a single source, detailing one or another aspect of a greater whole.

 

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