During the last year and a half a number of dear friends have died and with their loss came a lot of questioning and pondering. What is this mysterious process that we all meet? Why is this time such an amazing time, a time when love feels more present? What is this thin line between life and death? Where is that energy that was? These works provide no answers; but rather they explore some of my feelings around this part of life.
After the last series The Spirit Highway I realized that I wanted to concentrate on color, the very language of color and the ways in which color can suggest and reveal. I tend to become completely absorbed in color and I wondered if I could translate this experience. I knew that these works needed to be abstract, that there would be very little ”obvious” references in the works but as it [and I] progressed things changed. The ring of a coffee cup became a mark, or membrane, maybe a cell, a vessel, a container, skin, some times the colors became hypnotic and I wondered if anyone could see what they were doing in their subtlety, more marks appeared on the paper, the golden section and spiral (1) kept creeping in as did the Fibonacci numbers (2 )and its equation as another mark, another language. The works seem to lead me back and forth and up and down even in circles and has been the most difficult series to “hold” I have ever worked on, sometimes I think they are sublime and sometimes I wonder if anything is there. As they began to take shape in the studio and especially as the encaustic sinks into the paper and begins to glow they become in some way surrounded by light, by a certain quality of silence and spaciousnes
1. In geometry, a golden spiral is a logarithmic spiral whose growth factor b is related to Ф, the golden ratio. Specifically, a golden spiral gets wider (or further from its origin) by a factor of Ф for every quarter-turn it makes.
Formula: The polar equation for a golden spiral is the same as for other logarithmic spirals, but with a special value of b:
2. The Fibonacci numbers first appeared, under the name mAtAmeru (mountain of cadence), in the work of the Sanskrit grammarian Pingala (Chanda-sutra, the Art of Prosody, 450 or 200 BC). Prosody was important in ancient Indian ritual because of an emphasis on the purity of utterance. The Indian mathematician Virahanka (6th century AD) showed how the Fibonacci sequence arose in the analysis of metres with long and short syllables. Subsequently, the Jain philosopher Hemachandra (c.1150) composed a well-known text on these. A commentary on Virahanka’s work by Gopla in the 12th century also revisits the problem in some detail.
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