ABSTRACT
In this chapter, the author suggests that to treat colours as a permanent aspect of surfaces is a mistake. Indeed the openness of colour to processes of transformation, she argues, is what opens colour to becoming beautiful. The author also suggests that approaching colour as a material provides such forward propulsion, the impetus to create form that Ingold wishes to argue. Palettes are also an attempt to control the effects of colours together. The author discusses the similarities and differences between some palettes and their attendant possibilities for beauty. The machinery of capitalism impacts on local colour palettes. It is often cultural brokers who realise the potential of a local artisan's skills and design new products for the market. The social anticipation of colours as a process of transformation and as a propulsion forwards is manifested in some Western Desert painters' palettes.
