Value differences in painting always cut in; color differences always go side by side. Laterally. Color differences can illustrate three dimensional form, but using color in terms of hue belongs more properly to painting than modelling with dark and light [as in sculpting] does.

It [Britain] is faced by a different kind of colour problem: that the centre of many of our major cities should become civilized communal oases of men and women who are proud of not being British—foreign oases with their own culture, their own language, political leaders and separate destinies. It is faced, in short, by a form of coloured power which will not (one hopes) be mad or violent or evil, but which will be all the more significant precisely because of being perfectly respectable and legitimate. But foreign... For what will emerge as the result of their and our best efforts is a much more intractable problem than that faced in America—coloured foreign communities, in key areas of the country, who are economically and administratively integrated into the country, essential parts of its physical life, but emotionally, culturally and mentally still belonging to other lands.

… Англия почти по всичко се различава от континента, като се започне от тревата и бръшляна и се свърши с университета и парламента.

The art of change-ringing is peculiar to the English, and, like most English peculiarities, unintelligible to the rest of the world.

Colour makes a difference. Gender makes a difference. Ethnicity makes a difference. Acting as if they don't will create more problems than it will solve.

The English are no longer a homogeneous race. They are white and black, coloured and brown. They no longer share the same standards of conduct. Some of them come from countries where bribery and graft are accepted as an integral part of life and where stealing is a virtue so long as you are not found out... They will never accept the word of a policeman against one of their own.

It's a simple fact, when you move from one color space to another color space, that if there's a value contrast you get a strong optical illusion. Strong value contrast can be expressive and dramatic. Like the difference between high or low volume or the low key and the high keys on the piano.. .Actually, if you're moving from one flat color to another flat color, if there's a difference of color – if one is matte and the other is shiny – that contrast of tactility can keep them visually in the same dimension. It keeps them adjacent – side by side.. .Another reason is that a matte color and a shiny, transparent color are emotionally different. If something is warm and fuzzy and dense we have a kind of emotional response to that. If something is clear and you can see through it, like yellow or green or red can be, we have a different emotional sensation from that. So there's an expressive difference you can get that gives you more expressive range.

Since light is best expressed through differences in color quality, color should not be handled as a tonal gradation, to produce the effect of light.

Three years after my first trip to Haiti, I realized there was another emotional note that had to be reckoned with: the intense, vibrant color of these worlds. Searing light and intense color seemed somehow embedded in the cultures that I had begun working in, so utterly different from the gray-brown reticence of my New England background. Since then, I have worked predominantly in color.

Like many things, the way Britain operates is "kind of like the U.S., but whimsically worse."

The British and Americans are two people separated by a common language.

Just as counterpoint and harmony follow their own laws, and differ in rhythm and movement, both formal tensions and color tensions have a development of their own in accordance with the inherent laws from which they are separately derived. Both, however, aim toward the realization of the same image. And both deal with the depth problem.

The colors that a speaker "sees" often depend very much on the language he speaks, because each language offers its own high-codability color terms.

The concept of God in America is very different than it is in England. Because we see the horrendous outcome of religion as being an American thing, in which the name of God has been hijacked by a gang of psychopaths and bullies and homophobes, and the name of God has been used for their own twisted agendas. So that if you mention God, or a belief in God, in England, it's almost automatically associated with that kind of thinking. Religion's gotten a really bad name.