firstmodel series @
art derived from geometry: geometry derived from art.
there's nothing supposed beyond what is seen,
the art language is purely visual, no voice can speak it -
cannot speak insightfully about it.
the concept stops here, bring on the picture-polyphony.




1. Fistmodel

The Geometric Art Of Root2Art:
How I Use The Geometry Of The Square Root Of 2 To Structure Design



Geometry in Composition

A Geometric Meter for Plane Composition



Geometric Meter
I describe my work as being created in and derived from a unique system of geometric meter. This is the meter of visual composition as opposed to the meter found in poetry although the formalising and ordering property is the same. This meter, derived from particular and distinct geometry, provides a grammar and the actual fabric of my visual language.



Compass and Rule
The rudimentary beginnings of my work were developed ten years ago, principally with a compass, rule and calculator. Motifs were developed out of simple geometric relationships, these being a visual, almost diagrammatic, expression of what I found geometrically pure and wondrously correct within the geometry itself. I don't claim these early investigations have any mathematical value, nor with the very first experiments any artistic merit. Yet through years of trial and error and a stubborn belief in this method as a pivotal means of creating art I formed the foundations of the work I continue today.



First Metered Experiments
In this my first experiment deriving art directly from geometry I was thinking about artistic language very formally and I hit on an idea of using geometry to structure and meter an experiment to generate a particular visual dynamic. Central to this dynamic was the problem of, how to describe spherical or ovoid form on a two-dimensional surface. This problem was of great significance to many artist in the past including Michelangelo and CÚzanne and was a key force in the evolution of their painted and drawn languages. I was also interested in how the balance of an abstract image was affected when it was turned up side down. Or to put it enough way: how does the force of gravity effect the visual balance of nature and does this relate to the visual balance of an abstract image with no symbolic reference to an up or down? These very formal concerns combined with an intuitive affinity with geometry germinated the seeds for the work I am producing today.



The central arc configurations in fig 1.1, 1.2 and 1.3 are metered by 15 degree increments around the perimeter of circle h with center point F seen in fig.1.
All arcs contained by the shaded region have centers on y=0 axis. Thus point C is the mid point between point B and point D. Line g is straight yet can be expressed as an arc of infinite radius with center at ( infinity ,0). Point D is the center of arc d.



Building Blocks
The most basic building blocks I use are the square and circle. From these elements the relationship of the squareroot of 2 to 1 can easily be derived in many ways. The resulting geometry is elaborated in search of a strong visual motif in accordance with a visual grammar. A grammar determined by geometric simplicity and homogenous interconnectedness with the initial study.



Influence-feel

Rembrandt Self Portrait 1629

The Beginning and the End
I feel at the beginning and end of many artists artistic output we see a distinct purity that reaches to the heart of what that artist is all about. It makes sense that the first serious investigations an artist makes to find their own voice will be a response to the most immediate and obvious artistic concerns that resonate with the centre of that artistic personality. It seems that frequently, our first ideas often contain the seeds of our best solutions and subsequent developments tend to evolve on the periphery rather than at the heart of our fundamental propensities. This might continue to be the case until the occasion where we are required to dig deep and turn our attention inward. Its possible the onsite of death will bring this about to a greater degree than we have hitherto know. So maybe in our art we will express a closing of a circle as we approach the end of a life and re-examine with renewed focus, what makes us what we are.

Rembrandt Self Portrait 1661


Buddha Statue, Lantau Island, Hong Kong


Rembrandt Self Portrait 1661


Cezanne -


Michelangelo - study


Michelangelo - study


Michelangelo - study


Ionic Column


Ionic Column


Ionic Column bases


Doric Elements



Firstmodel

Key Compositions





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