This link will help you understand Synesthesia
Yes, Mondays are blue. Specifically French blue. Every day of the week has its own color. Sunday is golden yellow, Tuesday is a yellow-ochre, Wednesday is indigo blue and sometimes changes to blue violet, Thursday is burnt orange, and Friday is solid wood brown, and of course Saturday is rich pure red while Mondays are not just any blue… they are French blue. I learned the names of these colors from being a painter and using oil paints. I experience these colors every week and they help me maintain the calendar in my stupid old head. I began to realize when I first heard about the colors of the wind in the Disney movie Pocahontas that there was something to this everyday thing, something different in the way I see the world. I have in the last few years learned that this condition has a name. It is called synesthesia.
It has been suggested to me by more than a few people that I don’t really perceive the world the same way “normal people do”. When I was growing up, and going to school, I never had trouble remembering to capitalize the first word in a sentence. I did however, have a great deal of difficulty with capital letters on nouns. Looking back on that difficulty now, I can say without a doubt that I was having trouble not because I didn’t know the difference between proper nouns and common nouns. It was because things like the word “dog” or “chair” had to begin with the right color. Dogs are blue when you are talking about the color of the letters in the word. But small “d” is blue-green, not true blue. It doesn’t fit as well as the dark blue capital “D”. And chairs are orange-red when you write them down, while the small “c” appears light green by itself.
Sundays are Sun-days, and that’s why they are golden yellow.
I am told that most synesthetes are taken by surprise when they learn that they are seeing things differently than other people do. I certainly was. I always got funny looks whenever I described Thursdays as orange, or the month of November as sky blue. My classmates in 4th grade thought I was nuts… of course, it wasn’t just for the orange Thursdays thing. I was not a normal kid in any real sense of the word. I always suspected that if I could look at the world through other people’s eyes, I would probably see the color green as what I called red, or that glowing halo that surrounded things when organ music played in the Methodist church would no longer be there. But once I learned how synesthesia works I knew it was true. The visual part of the brain can be scanned to show activity, and lights up on the scanner as if the brain is seeing bright colors when Beethoven’s Ninth Symphony is being played while the subject of the scan is actually blindfolded. I am told that synesthesia is more common in left-handed girls. My daughter, the Princess, tells me that she also sees color on printed numbers and letters. She is left handed and also gifted at drawing. I suspect she inherited the synesthesia from me.
Synesthesia probably explains what this nonsense is all about.
Now, I acknowledge the fact that my synesthesia is self-diagnosed and not proven by any of the methods the articles I have read about the condition talked about. But my personal experiences always seem to fall in line with descriptions of letter/number/color combinations and music/color combinations that I have read about. And if I do have it, it is not the same as any of my six incurable diseases. It is not a bad condition to have. In an artistic sense, it might actually be a good thing. I could use some good for a change. Good doesn’t usually come from weirdness… not my weirdness, anyway. (Oh, and capital “G” is lime green… as is the word Goodness).
![Clofillia, Josphine [Madame Clofullia, P.T. Barnum's "Bearded Lady of Geneva"]. Daguerreotype by Thomas M. Easterly, 1853. Photographs and Prints Collections. Missouri History Museum. Easterly 321. NS 17387. Scan © 2008, Missouri History Museum.](https://i0.wp.com/catchafallingstarbook.net/wp-content/uploads/2018/04/beardedlady.jpg?w=273&h=154&ssl=1 "beardedlady")
Catch a Falling Star 
Sunday with Salvador
Today I am waxing on about the wonderful, mad, mad, mad genius of surrealist art, Salvador Dali. He was born in 1904 and died in 1989. And that’s really about all that I want to tell you about the physical parameters of his boundlessly creative life. He was alive in this world until I was already thirty-three. So, I got to see him on television and watch video biographies of him and his incredible artwork. Ones that included interviews. And if I get into his public persona, that will eat up the rest of his essay. Instead, I need to talk about his art, and how it modifies and magnifies what I am meant to be.
His most famous painting is the one that most clearly burned the image of melting clocks into our collective memory. He claimed, and others pretend to see it too, that it is a reaction to Einstein’s Theory of Relativity. But when I look at it with the melting mask of Dali himself in the center, I see the artist’s perception of time in the spaces within which creativity moves. Time melts and has no meaning when you are painting and writing from an endless roiling flow of new ideas and notions. Time becomes as irrelevant in that context as the ants on the pocket-watch or the dead tree from which one deflated clock-skin hangs, There is no past or future, only the creative now.
And in that creative now, the artist sees himself. But if you look too closely, the self vanishes into the picture, the currently considered, fascinating work of art.
You see the boy with the hoop and wearing a sailor suit? That symbol, he always claimed, was his lost brother, the one who died before he was born. The one whose death made his parents decide to have another child. Without that brother, Salvador would probably never have existed at all.
And do you see the disappearing bust of Voltaire? Or when you look closely at the slave market in the background, is it simply no longer there? Things that disappear… things that become other things… tricks of perception, the fooling of the viewer’s eye… These are what the artist actually wants you to see. Not the well-portrayed physical reality, but the ghost of the shadow of an idea that’s hard to define.
And then there is the idea of war. Two world wars that took place in the prime of his painterly life.
Life does crazy things to the sensitive, suffering artist, and it shows in his work if not in his public personality.
And consider the artist’s notion of birth and life and death. Narcissus suffers for the sin of love of himself. He becomes petrified with age, a narcissus flower growing from his head, now an egg, the symbol of birth and rebirth.
And here is an exploded portrait of his beloved wife Gala.
All the elements float eternally in the air.
And you can see inside each thing.
Inside the home is the wife and mother.
Inside the mother is the child.
Inside the child is the loaf of bread that keeps him alive.
Does the bread, then, stand in for God himself?
Dali and his work is not simple. It is deeply, incongruously complex. But that is surrealism. That is how it works. Without getting into other complex symbols and such Dali-esque puzzles like burning giraffes, eggs, and Venus De Milo with bureau drawers in her torso, that is how Salvador spends his Sunday with me. An artist beyond time and space, long dead, but still speaking to me. And teaching me beautiful, untold things and stories of things.
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Filed under art criticism, artists I admire, artwork, autobiography, commentary, surrealism
Tagged as art, dali, painting, Salvador Dali, surrealism