I first used the color scarlet in a painting in New Mexico.
I’d always been reluctant to use any red as a landscape color because I thought
I’d never actually seen it in nature. My artist’s life was based in the Pacific
Northwest—ever green—where comforting and languid blue-greens and analogous
hues overwhelmed the seasons. As close as I ever came to red was burnt sienna—a
neutral, earthy almost-orange. Sure, I occasionally dropped in a bit of Opera
(hot pink)—but only for exuberant rhododendrons in spring, or bright candy in a
gum-ball machine.
Then I moved to New Mexico.
|
Ghost Ranch Red Rocks, Jan Hart, 2005 |
Suddenly, simmering reds glowed like embers in rock
crevices. Washed upon the shaded side of the bloodshot rocks blazed countless
scarlet exclamations, only visible to the eyes of those who were tempted to be
hypnotized—like when one is drawn to the flames in a fire.
No more denial. Red was alive and thriving in northern New
Mexico. Here was a land carved through a volcanic rift between the Colorado
Plateau and the High Plains as a zone of red rock beds composed mostly of
sedimentary sandstones and shales stained in every shade of red.
|
Ghost Ranch Splendor, JH 2004 |
The real magic was in the interaction with sunlight; each
sun ray could strike a hard red rock surface and bounce, carrying with it
both color and light energy. Each bounce further charged it so that it was
possible to see the glowing scarlet red embers in each shaded overhang or
crevice. With over 325 sunshine filled days, there were plenty of opportunities
to witness the magical phenomenon of reflected light and color. Red tinted
light rebounded all over northern New Mexico. One time, walking up into Echo
Amphitheater, the partially shaded sloped sandstone walls appeared to glow.
Astounded, I wondered if the very air I was breathing was also red tinted – and
what other mystic qualities I breathed beyond the hue.
As I became more obsessed with the phenomenon of reflected
light and color, I even placed a bumper sticker on my car that
read: I Brake for Reflected Light. I always smiled when someone
passed me on the highway and looked me over – my sticker might as well have stated
I was stark raving mad.
In my New Mexico days, and after them, I ordered Perinone
Scarlet, Scarlet Lake, and Vermillion Red. Ached until the precious tubes
arrived. And then I used them. Gone was any fear of using red – pure red –
straight out of the tube. The redder the better.
It was no surprise that the color showed up in a dream
vision several years later. While hospitalized for a staph infection in my
spine in 1997, an entity who called himself Raphael spoke to me while
surrounded entirely by brilliant scarlet (and a bit of emerald green). After
six weeks of hospitalization and time at home to rest, I made my way out to my
studio to see if I could paint.
The
Raphael paintings
|
Raphael 2, jh 1997 |
For the
Raphael paintings I painted wet into wet (wet paint onto wet paper), a
technique I rarely used this freely. But it seemed just right during this time
when my brush felt like it was almost being directed in a way both unfamiliar
and deeply familiar. The paintings came directly from my consciousness; swirls
and shades of deep scarlet. I watched as the paints moved against each other
and merged together.
I
definitely was in a place of less control with these paintings. I was in
another world.
Way past New Mexico, Scarlet Red remained tucked into my
heart. It had become my favorite color – for painting as well as wearing.
I could almost feel my connection to something greater whenever my brush
dipped into Peritonea Scarlet. It showed me the way forward and
eventually to Costa Rica.
In 2008, I was on the last day of a tour to see about the
possibility of moving to Costa Rica.
From A
Woman Awakens: Life, AfterLife, page 60
Even
though we were driving, I caught a glimpse of a glass-encased statue of San
Rafael stationed over the door of the white church. Portrayed in flowing
garments in the colors of faded scarlet and pale green-blue, he held a line
with a fish on it in one hand. His hair was wavy and blonde. My heart skipped
another beat.
I did
not ask the tour guide realtors to stop, nor did I share any of my thoughts or
incredulity with them, but I felt the subtle pin pricks of excitement along my
arms.
The road
wound up the mountainside through a couple of switchbacks. Just as the car
lurched onto the steepest part of the bumpy road I looked ahead and saw a house
painted bright scarlet red and softer emerald green.
Very
calmly I asked if the house ahead was the one they were going to show me.
When they answered, 'yes', I stopped breathing. In my
mind I was asking myself if this was really happening. How could this be? The
colors. The exact colors.
Soon after my move to Costa Rica I noticed the color again
at an ExPat gathering. It was the shirt- color worn by a gentle Canadian man
named Frank. Two years later we married – and of course both of us wore
shades of red.
Frank was my soul mate and the great love of my life. Still
one of my favorite memories is seeing him dramatically mimic these words from
the actor, Chiwetel Ejiofor, who played the title role in a favorite
movie of his, and then mine. Kinky Boots, 2005:
“Burgundy. Please, God, tell me I have not inspired something
burgundy. Red. Red. *Red*! Is the color of sex! Burgundy is the color of hot
water bottles! Red is the color of sex and fear and danger and signs that say,
Do. Not. Enter. All my favorite things in life.”