Back to Black: Reflections on the Darkness of Being

Amy Winehouse (1983-2011)

I.

Black isn't merely the darkest colour. It's also the sexiest colour; the most dangerous colour.

In fact, it's more a state of mind or way of being than just an achromatic shade, as understood by artists, fashionistas, fascists and by all those for whom sensible blues and browns just don't cut it on the canvas or on the catwalk, anymore than they excite on the battlefield or in the bedroom.

The only other colour that comes close to having the erotic and evil allure of black is red and the two are often used in powerful combination. The ancient Greeks, for example, made their famous black-figure pottery by using an ingenious technique in which the figures, painted with a glossy clay slip, were set against a vivid red background.
 
However, whilst not wishing to denigrate erythrophiles for whom red is the king of colours, personally, like Amy - and as a thanatologist and nihilist - when the odds are stacked, I always go back to black ...

II.

The sculptor Anish Kapoor, who often works with ideas of negative space and the void of non-being, has said that black is the most emotive colour - particularly that darkest form of black that is carried within each of us; not as original sin, but as what we might think of as a black hole of the self, sitting at the centre of the soul and into which we might fall and disappear at any moment.

I think this is the disconcerting truth that Kurtz discovers, to his horror, in Joseph Conrad's Heart of Darkness (1899). And, arguably, it's what Heidegger is referring to when he suggests that Dasein can only grasp its own wholeness by facing up to its emptiness - i.e., to the fact that being floats upon a sea of oblivion and the ever-present possibility of no-longer-being-there [sein Nicht-mehr-dasein].

Perhaps because of this - because we are creatures not merely threatened by but born of the darkness - black is crucial within the cave paintings of early man and has remained the fundamental reality upon which so much great art continues to build, making all other colours seem dirty and inferior.   

Note: 

As most readers will know, the title to this post, Back to Black, is taken from the fantastic song written and performed by Amy Winehouse, produced by Mark Ronson (Island Records, 2007). The accompanying video, dir. Phil Griffin, can be watched on YouTube by clicking here.

Vantablack: Notes on the Science of an Uncanny Colour and a Skirmish in the Art World

A technician holds up a sample of Vantablack against 
a silver foil background - et voilà! an instant black hole

Image: Surrey Nanosystems

I: Manufacturing the Void: On the Science of an Uncanny Colour

Despite Spanish songsters Los Bravos tautologically insisting that black is black, actually there are degrees of darkness to be considered. In other words, there's black, there's super black, and then there's Vantablack ... 

Vantablack is an uncanny substance composed of a forest of vertically aligned carbon nanotube arrays which are grown on a substrate using a modified chemical vapour deposition. It is the darkest material ever made, absorbing almost 100% of radiation in the visible spectrum and creating the illusion of a black hole whenever it's applied to the surface of an object.

When light strikes an object covered in Vantablack, instead of reflecting as it normally would, thereby allowing the eye to see the object, it becomes trapped and continually deflected among the tubes, flattening out all appearance of depth. Eventually the light is absorbed and dissipated as heat.

There have, of course, been similar substances developed in the past; NASA, for example, had previously developed their own super black. But Vantablack is the baddest and the blackest of them all - the veritable prince of darkness.

Indeed, had I been the one naming it, I'd have called it Satanic black, rather than Vantablack (VANTA being an acronym derived from vertically aligned nanotube arrays); a name given by the British company Surrey NanoSystems who invented it, and who have identified a wide range of potential applications for the substance thanks to its emissivity and scalability. These include improving the performance of telescopes and materials used in solar power technology.

Perhaps not surprisingly, the military are also interested in how Vantablack might be used as thermal camouflage and increase the invisibility and all-round stealthiness of stealth aircraft.       


II: Brushes at Dawn: On a Skirmish in the Art World

Artists too have expressed an interest in this new (anti-)colour, which offers so many fascinating opportunities for deception and design. Unfortunately, however, they're not going to get the chance to use it after the sculptor Anish Kapoor proved to be (a) quick off the mark and (b) something of an arsehole; obtaining as he did an exclusive license for artistic use of Vantablack, causing outrage amongst others in the art world, including Jason Chase, Christian Furr, and Stuart Semple.

The latter, for example, retaliated by developing a strong shade of ultra-fluorescent pink - as well as a cherry-scented deep black colour - to which he attached (non-binding) clauses to the effect that Kapoor was not allowed to purchase them. The sculptor responded in December 2016 by posting a picture on Instagram of his raised middle finger dipped in Semple's pink paint.     

Jason Chase, meanwhile, teamed up with a company called NanoLab to create his own super dark colour which he named Singularity Black. Unlike Kapoor, he made his new black fully available to others artists should they wish to experiment with it in their work.
   

There are several ways to view this tiff between artists; one might see it as an example of the petty stupidity and rivalry that is, unfortunately, all too common in the creative industries. On the other hand, one could argue that it demonstrates the supreme importance of black within the art world, described by Renoir as la reine des couleurs and by Matisse as more than a mere colour - Black, he said, is a force that simplifies everything.   

Indeed, as Kapoor himself recognised, much of the fuss over his exclusive rights to Vantablack is due to the profoundly emotive nature of the colour: "I don’t think the same response would occur if it was white".

Notes

To find out more about Vantablack, visit the Surrey Nanosystems website by clicking here. 

For more details of the colourful skirmish between Kapoor and Semple, see the article by Adam Rogers, 'Art Fight! The Pinkest Pink Versus the Blackest Black' in Wired (22 June, 2017): click here. 

The line quoted from Kapoor at the end of this post is from an article by Brigid Delaney, '"You could disappear into it": Anish Kapoor on his exclusive rights to the 'blackest black', The Guardian (26 Sept., 2016): click here.