Principles, Canons, SystemsThe discovery that behind our aesthetic proclivities lay laws and principles was mind-blowing. Following an investigation of these I began to use and invent rules. Since I was producing artworks and not scientific experiments per se, intuitive judgement was crucial in not accepting every logical outcome. In the 20 "Cube Variations" the format was that of a flat facsimile of a 3D cube; all the lines relate to structure. Each work is based on a certain principle (flexible, minimal, etc.). In the 8 "90° Arcs" the method is erasure. In the 30 "Radiant Tondos" the method moves from traditional balanced irregularities to that of allowing the circular format to determine the activity of the colours while accepting the inherent symmetry of the center and circumference, actually, to minimize form and allow colour to create the systole-diastole action. This led to an expansion of mono-form works like the "Frame and Shadow" series in which the shape of the format is repeated in the work itself; the "frame" casts a "shadow" on the ground and creates a situation based on the interaction of colours. I have been using the Golden Ratio or Fibonacci Scale for a long time. "Icon" incorporates mainly the changing widths of the rectangles. In "Colour Canon INOK Plus #1" I have used the ancient Japanese canon "Iro No Kubari", creating juxtapositions I would not have arrived at otherwise - with an additional law of my own. In the "Ray Play" series I recreated the phenomenon of the "after image". I have found that Johannes Itten's Contrast of Extension meshes well with Golden proportions. |
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