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Idea Behind the Project:
The idea behind the project revealed itself to me through the process. The title captures my revelation. I think that from light (formless) all form as we know it is designed. I see light and its colors as a media, as the only media that can allow for the creation of all form.
Maybe light as it allows us to observe the world, it also designs it.
Purpose of the Project:
The purpose of the project is the: The contemplation of the world without and the world within as art simulates and reveals it.
Summary of the Project Process:
From 1996 to 1999, I was painting with water colors. Late 1997, I caught myself repeating a circular motion. I found it extremely pleasing and satisfying to complete a circle free hand, that I continued to paint water color circles until late 1998. I painted circles over circles creating works with transparent layers of circles. I call those works “Reflections”.
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In 2002, I began to work with the aid of a computer. With the advantages of computer (mirror image) in particular, an infinite evolution in design form, an endless generation of patterns, reminding me of nature’s patterns, was presented. It seemed to me as if all manifestations of form from the smallest scale of the micro-cosmic to the grandest scale of the macro-cosmic could be reflected in what I was only beginning to do. I call those works “Evolutions”.
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Statement of Intended Outcome:
It was maybe the inherent need of human nature to know the nature of the world; the universe within and the universe without. While working on this project it seemed as if all form is a continuous evolution of the reflections upon reflections of light and its movement throughout the cosmos. I see light as strings of photospheres, every photosphere as a sphere of light with the ability to reflect in all sides, all directions its own image. Their reflections allow for all possible kinds of symmetries and symmetrical designs. Every reflection is a mirror of symmetry. Imagine light scattered through space as it moves it is continuously reflected, every reflection a mirror of symmetry, synthesizing continuously in its motion in time and space. I imagine something like a kaleidoscope. It is as if light as a dynamic media with the known and unknown qualities it processes, randomly designs the infinity of forms we know with extraordinary intelligence. I believe the intelligence lie in the ability of light to reflect and create a perfect mirror image and the cyclic motion of the celestial bodies, that sets all reflections into predetermined forms. It seems as if all design form is derived from the spherical form of the stars, their cyclic motion and the light’s perpetual reflections, the spiral motion (form) of our galaxy and the motion of the universe. To the spiral form (motion) of our galaxy we own the design of the bilateral forms, as explained later. I’d like to redefine the term photo-synthesis to describe the diverse morphology, the complex and continuous synthesis in the evolution of form as we know it.
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Essay on the Conceptual Blueprint of the Process from Inception to Completion:
In 2002, working with the computer. I used the work Reflections as building blocks and proceeded as before. With the advantages of the computer, mirror image, in particular, a new evolution in design form was presented. The mirror image gave me new designs with elegant symmetrical appearances, reflecting images of forms as we know in nature, images of atomic or molecular structure, flower like morphology not previously possible.
The computer helped make the process much more efficient, fast and precise.
With the original work from Reflections in vertical position (portrait), I fenced and cut 18 degree triangular sections. I get four sections total, then I fenced (flip vertical) and cut another four sections. I began to select one section then multiple sections and use the process of copy, mirror image, rotate to create a great number of variations of circular designs, or rotational states. The number of sections I will select will define the angle of rotation, will require a specific number of rotations to complete the circular movement (360 degrees) and will generate a particular design pattern; Geometric forms such as polygons, (multiple concentric polygons). The number of rotations will define the kind of polygon. One single section of 18 degree, (mirror image) will define an angle of rotation of 36 degree this will require a total of 10 rotations to complete a circle and will define a decagon. Beautiful pentagonal patterns will appear when I select two sections. The number of rotations must always be a multiple of 360 as of (degree circle). I call all of the above variations c20, circle of 20 triangular sections, randomly chosen. Or I could call them c18 as of the 18 degree angle.
Next, I began to experiment with triangular sections of 7.5 degrees. I proceeded in a similar way and originated new variations; reflecting patterns of dodecagonal, octagonal, hexagonal, and square shapes or forms. I named all possible variations c48, circle of 48 triangular sections, randomly chosen.
Next, with the original in horizontal position (landscape), I used the fence tool to define 10 degree triangles. By moving the fence every 1/8 inch, I cut progressive sections out of the original. I then rotated each section by 10 degrees more than the previous section and pasted them together to create a circular design of the 36 consecutive sections. This particular design has the appearance of a spiral pattern. I call this design c36, circular design of 36 consecutives sections. I began to take one triangle at a time (first I did this randomly and later I understood and proceeded in order). I copy, mirror image and rotate each time, to create 36 different circular designs. I call those c36,1s, (#of section 1 to 36). I continued by taking multiples of 36 (two, three, six, nine and eighteen) consecutive sections and by repeating the same process, (copy, mirror image, rotate), I created 36 new design variations each time.
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By selecting one section it produces patterns of polygons nearing concentric circles as the angle of the section diminishes, a decaoctagon here. By selecting multiple sections of the 36, (2, 3, 6, 9) here, (as the angle increases), there appear patterns in the design, of enneagon, hexagon and triangle, square and the bilateral symmetric form. The number of rotations will determine the number of sides, or angles of the polygon, (the type of polygon). When I select 18 consecutive sections (half the number of sections) and mirror image, I obtain forms of bilateral symmetry, (no radial symmetry), which have the appearance of flowers like orchards, or of the animal form. It seems as if in the spiral motion (form) of our galaxy, (which is manifested everywhere) we owe all design form mostly known in the animal kingdom with bilateral symmetry, that allows for increased complexity of form and for easy and graceful movement.
The total number of rotations determines the type of polygon pattern and must always be a multiple of 360 (360 degree circle). This makes it difficult to create a heptagonal (radial) symmetrical pattern, since the number 7 is not a multiple of 360, and actually limits the type of patters only to the ones deriving from multiples of 360 as the tables above describes. Other patterns like the heptagonal pattern may be patterns related to time or (a repetition of order, a superposition), and they are rare in nature, like the seven petal flowers.
Now we could imagine if we like how all the variations in angle can create endless number in form variations. Even a fraction of a second of a degree angle, of a ray of light coming from a far away heavenly object, can create changes in the evolution of design form. It could be that the farthest away stars and galaxies, would affect the smallest particles in the form of living things and oldest (since light takes longer to reach). To the contrary the nearest stars and galaxies, first our sun and our galaxy will affect the form, of the largest and visible.
Additionally I believe the early patterns in nature, created first in time and space, should be the circular, strings, and the patterns derived from their parallel projections (cylindrical), followed by the patterns of the greatest in numbers of angles polygons and the patterns derived from their projections all the way to the triangular patterns and the patterns derived from their projections, and last the patterns of the bilateral form which is the mirror image of half of the spiral, and very last the pattern of the spiral, which is the mirror image of the spiral.
All the above work deriving from Reflections I called “Evolutions”.
I like to clarify that all multiples in angle variation will produce pattern variations that are similarities in design, yet more refined, as we see in the above tables.
Additionally I created a series of patterns of non circular designs (linear in motion or other) using the entire original or a section of the original or even a section cut out of any of the circular designs (circular patterns) . There is an increase in design complexity as new patterns are created using building blocks out of previous patterns.