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HYPERSEEING the Publication of the International Society of the Arts, Mathematics, and Architecture MAR-APR 2008

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HYPERSEEING the Publication of the International Society of the Arts, Mathematics, and Architecture MAR-APR 2008 HYPERSEEING The Publication of the International Society of the Arts, Mathematics, and Architecture MAR-APR 2008 www.isama.org Articles Exhibits Resources Cartoons Books News IIlustrations Announcements Communications HYPERSEEING Editors. Ergun Akleman, Nat Friedman. Associate Editors. Javier Barrallo, Anna Campbell Bliss, Claude Bruter, Benigna Chilla, Michael Field, Slavik Jablan, Steve Luecking, John Sullivan, Elizabeth Whiteley. Page Layout. Ranjith Perumalil MAR-APR, 2008 Cover Photo: Water Holes Canyon Photo by Robert Fathauer Articles News Article Submission Water Holes Canyon: For inclusion in Hyperseeing, au- Form, Space, Light, and Color Cartoons thors are invited to email articles for by Nat Friedman & Robert Fathauer the preceding categories to: Knot Theory [email protected] IV: Crossfield Geometry/ by Ergun Akleman Gridfield Space Period (1989-1964) Articles should be a maximum of by Douglas Peden eight pages. Illustrations Opening Out & Closing In by Pau Atela & Nat Friedman Illustrations by Robert Kauffmann Greg Johns: Sculptures Enclosing Space by Nat Friedman Book Reviews Charles Ginnever: Two Piece Giant Steps Resources by Nat Friedman Announcements WATER HOLES CANYON: NAT FRIEDMAN & FORM, Space, LIGHT, AND COLOR ROBERT FATHAUER About fifteen minutes ago I opened a result of erosion, primarily due to space, light, and color, and I have my email and there were these won- flash floods in which water carrying found them very inspirational. Note derful images of Water Holes Can- sand and rocks rushes through the that this is sculpture that you can yon that is just south of Page, Ari- narrow passageways. The chaotic experience by walking through the zona, sent to me by Rob Fathauer. nature of this process leads to com- space of the canyon. Thus the sculp- Water Holes has dramatic Navajo plex forms. The section of narrows tural experience is both visual and sandstone narrows similar to those shown in most of the images below bodily, as discussed in [1], where of the more visited, more photo- is roughly 20 feet deep and a 2-6 Richard Serra’s torqued ellipses and graphed, and more famous Antelope feet wide. torqued spirals are considered. Ser- Canyon. Both lie within the Navajo ra’s sculptures are large steel shells Nation and are tributaries of Glen These slot canyons are the ultimate that you experience by walking Canyon. These sandstone forms are natural sculpture relating form, around them both inside and out- Robert Fathauer, Water Holes Canyon , Image 1 Robert Fathauer, Water Holes Canyon, Image 2 Robert Fathauer, Water Holes Canyon, Image 3 side. I had thought about the slot were taken with an Olympus FE- References canyons at the time and how much 280 compact electronic camera, more interesting they are since the while the last was taken with an forms, spaces, light and color, are Apple iPhone. Adjustments to the [1] Nat Friedman, Space, Hyper- so impressive. Here are a selection raw images were made using Pho- seeing, November, 2006, www. of Rob’s images. The first 9 images toShop. isama.org/hyperseeing/ Robert Fathauer, Water Holes Canyon, Image 4 Robert Fathauer, Water Holes Canyon, Image 5 Robert Fathauer, Water Holes Canyon, Image 6 Robert Fathauer, Water Holes Canyon, Image 7 Robert Fathauer, Water Holes Canyon, Image 8 Robert Fathauer, Water Holes Canyon, Image 9 Robert Fathauer, Water Holes Canyon, Image 10 IV: CROSSFIELD GEOMETry/ GRIDFIELD Space PERIOD DOUGLAS PEDEN 1989-1964 Figure 1: #156: Symphony #1: Transcendent Figure (1991) 42X89” “The only real voyage of discov- under “GridField Painting,” and I the April 2007 issue of Hypersee- ery consists not in seeking new refer the interested reader to that ing. The first discussed was Cross- landscapes, but in having new issue for details. The dynamics of field (or Crossphase) Geometry; eyes.” — Marcel Proust, using GFG as the foundation of the second, discovered later, was French novelist (1871-1922). my painting was far reaching when labeled Interfield (or Interphase) compared to the possibilities of the Geometry, and its artistic merit will The evolution of my painting style Cartesian approach. However, at be explored in my next article in at this time of my life was a sur- this point, I feel the necessity to Hyperseeing, outlining my V Peri- prise, not only in art, but an un- interject a personal, and hopefully od. The Cartesian grid and Euclid- expected joy in reintroducing me helpful, observation. My invention/ ean space are really one aspect, or to the world of mathematics. By discovery of GFG occurred at the variation, of GFG. With the intro- some epiphany, I made a seren- not so tender age of 56 (I am told duction of GridField Geometry, I dipitous observation that I could go that we do our best creative work, had a much more dynamic system beyond Euclidean space geometry especially in mathematics, before at my disposal, with countless geo- and the time honored straight line our 30th year); therefore, a note metric patterns; which, as of now, Cartesian grid and coordinate sys- to my colleagues who might think I have only explored a few of its tem to a totally curvilinear grid and their best days are over — as the mathematical and artistic possi- coordinate system. This new geo- old song goes, “It ain’t necessarily bilities. In this period of my artis- metric, spatial approach I have la- so.” With this introductory fanfare, tic evolution, I introduced, what I beled GridField Geometry (GFG). let’s proceed with some exam- call, a narrative approach, as hinted The basics of GFG, i.e., its struc- ples and discussion of this period. at in my previous article in Hyper- ture, were briefly explained in the Two primary geometries were es- seeing, with regards to my painting April 2007 issue of Hyperseeing tablished in GFG as presented in Dragon Wars, where my interlock- Figure 2: # 150: Sun Song (1990) 40X61” ing dragons, i.e., mouth to mouth one’s attention, on the lower left of the autobiographical; without going figuration, would seem to imply painting. This is conceived as the intro- into the personal details, which a battle scene and story. How- duction of our shape theme – leitmotif, are by no means evident in the ever, the abstract narrative needs if you wish. If we read, episodically, like piece, it is a painting, which is in a little more explaining. For this, following stepping stones, from left to the magnitude of its size, sym- refer to my Symphony #1, Fig 1, right, our figure branches into two paths, phonic pretentions, and story in- Transcendent Figure. If we “read” one vertical and other horizontal, going tent, attempting to express a per- this painting, from left to right, through various transformations, and fi- sonal triumph. However, please a clearly defined black figure nally ending up as a single bird-like figure feel free to dispute or ignore my (described by some as a witch- in the upper right. For what it’s worth, basic design and personal inten- like figure) stands out, to attract the painting itself, is indeed somewhat tion and look at it from other Figure 3: #152: Dream Song: Metamorphose (1990) 24X61” Figure4: #157: 3 Part Invention-Agitato/Crescendo/Diminuendo 12X89” (1991) Figure 5: #146: Rhapsody for 9 Notes (1990) 24X61” viewpoints. For example, why its Development, which consists of vironment of color, space, line, and not read the painting from right a fragmentation of the thematic ma- rhythm. I think of my paintings as to left? Or, take it in as a whole terial and its subsequent recombin- visual music in the sense of tone po- and just enjoy it as pure abstrac- ing into the concluding figure(s) in ems that make use of mathematical tion. You might also note that the the Recapitulation and Conclusion. and esthetic relationships to inspire basic structure of the painting is Indeed, the narrative approach and/ a sense of sound, time, mood, and somewhat analogous to that of or the classical sonata division are life. However, at this point, having the sonata form in classical mu- used to inspire the structural basis discussed to some extent the impli- sic; that is, the composition can for my painting. In any case, I try to cations of sound and time, let me be divided into an Introduction or give the thematic material a life of briefly discuss the expressive factor Exposition of thematic material, its own, by interacting with its en- of mood. Here we have some analo- Figure 6: #163: Behold, I Do A New Thing (1991) 24X60” Figure 7: #154: Halloween (1990) 40X61” gies to music. For example, loud or with the intention to calm the male be deemed as a rather romantic pe- soft sounds in music used to bol- psyche. However, this ploy doesn’t riod — Transcendent Figure would ster a mood would be analogous to always work, sometimes what I certainly fit the category. And, if we bright or subdued color intensities think I am expressing isn’t quite look at another example of this pe- in painting; and, the close spac- interpreted as such; in other words, riod, Figure 3, #155, Dream Song: ing of lines or shapes might evoke the final interpretation is, of course, Metamorphose, a precursor to Tran- a sense of speed or activity as in always in the eyes/mind of the be- scendent Figure (#156), we find a sound events per unit of time com- holder. For example, I painted Sun similar link with its lush colors and pared to visual events per unit of Song, Figure 2, in the key of orange languid rhythms, and the same bird- space — all of which can contrib- to simply express the physical plea- ute to the dynamic sense of mood.
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