Una Meistere: Each stone surely has its own character, and a different relationship develops with each one. Kadri Mälk: Of course, there are physical characteristics. Some stones are harder, some are more fragile, some are, for instance, very gentle – like tourmaline, which I’m very fond of. Tourmaline has various types. It tends to have little pieces of other materials in it, which creates physical barriers – one needs to know how to cut it properly, otherwise it can crumble. For instance, black tourmaline, which is my favourite, has lots of graphite in it.
MAISON VALENTINO, Black dress from Resort collection Fall/Winter 2015 [courtesy of Valentino.com via Pinterest] ● KADRI MÄLK, Angel in Quandary – brooch, painted cibatool, silver, gold, black raw tourmaline, prasiolite, 2015 [Courtesy of KLIMT02 via Pinterest]
Few months ago, while drinking an apéro, a close friend suddenly asked me “why don’t you wear colours sometimes? You always wear black!”. I answered her quietly “oh…c’mon! you know I wear white in summer!! Don’t you think this is enough for me?!”
By the way, the fact is that, even if I really love colours such as red, a well saturated yellow, blue, light blue, pale indigo or wild tangerine, I always return to black: not only because it has such a fascinating social history, but because wearing black is an education to the absolute. It’s a matter of “silence and slow time”, a constant growth of desire and the reward is a long, trustworthy endurance.
Being considered for centuries the denial of all colours and the synonym of evil, during classical times black had a different status: the Romans distinguished between ATER, an opaque black and its brighter shade called NIGER, thus it was a matter of reflection and, of course, light(ness) indeed!
So, I’ve started thinkin’ to a new métissage, combining the légéresse of black and its strong presence, matching a somber, but tumultuous lightness. Because you know how ligntness can be overflowing!
“L’outrenoir provient d’un développement. Je peignais une nuit et je continuais à travailler malgré mon désespoir de ne pas trouver ce que je cherchais. Quelque chose de plus fort en moi que l’intention que j’avais. Je suis allé dormir. Après une ou deux heures, je me suis levé et je suis retourné voir ce que j’avais fait. Alors je me suis aperçu que la matière que j’utilisais, ce n’était plus du noir. Ce n’était pas le noir. La matière que j’utilisais, c’était la lumière. La lumière, elle réfléchit le noir. Ma peinture, ce n’est pas ce qu’on croit voir: c’est la lumière. Si on voit ça noir, c’est qu’on a le ventre à la tête. Si on regarde avec les yeux, on s’aperçoit que ce n’est pas noir.” (Michael de Saintcheron interviewing Pierre Soulages, via HuffingtonPost France)
“The outrenoir comes up from a development. I painted one night and I continued to work despite my despair of not finding what I was looking for. There was something stronger in me than I had intended. I went to sleep. After one or two hours, I got up and went back to see what I had done. Then I realized that the material I used was no longer black. It was not black. The material I used was light. Light, it reflects the dark. My painting, it is not what one believes to see: it is light. If you see that black is that we have the stomach to the head. If you look with your eyes, you realize that it’s not black” (Michael de Saintcheron interviewing Pierre Soulages, via HuffingtonPost France).