Published in the ‘swirls’ exhibition pamphlet, held at the Australian High Commission in Kuala Lumpur, Malaysia. May 2005.
This series of works entitled 'swirls' underscores the basic notion of geometry by generating complex configuration and spatial derivations from the mere circle. Furthermore, the tenets of Euclidean geometry are examined by looking at the relationship of plane (two-dimensional) and solid (three-dimensional) geometry. This fundamental geometrical shape, which exists both in the natural and built environment, is highlighted and the more complex geometrical hierarchy originating from circles such as curves, spirals and spheres are brought to the viewer's attention.
Although intuition was a fundamental approach at the inception stage, the outcome of the finished work evokes a certain abstinence from the spontaneous expression more commonly associated with conventional artistic works. Perhaps this series of work have a clearer correlation to creating unusual visual effects, and its intrusion to the normal physiology and psychology of human sight.
Nevertheless, the overall creative process was based on an amalgamation of intuitive and scientific related stratagems, whereby a systematic approach of how certain shapes and forms can be further developed from an existing body of work. This is parallel to conventional mathematical principle whereby for something to be true it must be possible to prove it from other known existing or accepted truths. As a result, chains of geometric theorems or proofs were constructed, beginning with a few assumptions, hypothesis and/or axioms. This methodology is apparent where mathematics is an integral component in areas such as physics, economics, biology, and to a certain extent, art. Hence, the idea of developing an artwork, from an existing body of work, is analogous to this creative process.
This series of works entitled 'swirls' underscores the basic notion of geometry by generating complex configuration and spatial derivations from the mere circle. Furthermore, the tenets of Euclidean geometry are examined by looking at the relationship of plane (two-dimensional) and solid (three-dimensional) geometry. This fundamental geometrical shape, which exists both in the natural and built environment, is highlighted and the more complex geometrical hierarchy originating from circles such as curves, spirals and spheres are brought to the viewer's attention.
Although intuition was a fundamental approach at the inception stage, the outcome of the finished work evokes a certain abstinence from the spontaneous expression more commonly associated with conventional artistic works. Perhaps this series of work have a clearer correlation to creating unusual visual effects, and its intrusion to the normal physiology and psychology of human sight.
Nevertheless, the overall creative process was based on an amalgamation of intuitive and scientific related stratagems, whereby a systematic approach of how certain shapes and forms can be further developed from an existing body of work. This is parallel to conventional mathematical principle whereby for something to be true it must be possible to prove it from other known existing or accepted truths. As a result, chains of geometric theorems or proofs were constructed, beginning with a few assumptions, hypothesis and/or axioms. This methodology is apparent where mathematics is an integral component in areas such as physics, economics, biology, and to a certain extent, art. Hence, the idea of developing an artwork, from an existing body of work, is analogous to this creative process.
Another aspect of formalizing the current body of work is to incorporate the manner in which these works are described. As evident, each field of knowledge has a certain language which is structured to cater towards conveying specific subject-matter. This is in order to be better understood and thus forming a certain kind of standard framework.
Hence, it is intriguing to develop a personal structural language to describe these works in mathematical terms. The paradox of the implied spiral that is presented in this series can be narrated in the following problem posed: what is the path of an object starting off from any point on a circle when it is dragged along by a string of shortened length being pulled in a constant velocity? This mathematical paradox conveys the work in a certain 'language', informing the shape for which they dictate. Therefore, it is another medium of how a work can be conceived and thus created.
In retrospect, it is crucial to relate the creative process to a certain mathematical doctrine because the works are scientifically oriented. Such a need was even more compelling after the end result was produced, when the composition gave rise to some obscure geometrical form. It is this illusionary quality that eventually became the driving force, pushing these works beyond the seemingly limited nature of the circles.
In conclusion, Octavio Paz's comment on Duchamp's work will reflect on the salient aspect of this exhibition: Since a three-dimensional object casts a two-dimensional shadow, we should be able to imagine the unknown four-dimensional object whose shadow we are. I for my part am fascinated by the search for a one-dimensional object that casts no shadow at all.
SUBTEXT 1, with images of 2D wall sculpture - centrifugal series (above)
This series of work denotes the physical limitation of a single plane mode of thinking in creating a three-dimensional spatial quality. Hence, the third dimension only exists as an intangible form, while the physical construct was accomplished on a two-dimensional, single plane geometry. In reality, the works are all comprised of exactly the same concentric circles or rings with varying radius. The only single determining factor that resulted in the three-dimensional optical illusion was how these ‘rings’ were arranged.
SUBTEXT 2, with images of 3D mobile sculptures - involute series (above)
Mathematical theorems, building upon an established and accepted ‘assumptions’ reflect how these series of works were conceived. As a result, physical intervention on the plane geometry has a direct effect on the solid geometry, or multi-plane geometry. Thus, another spatial quality is formed as it is being literally pushed into the third dimension and hence, the formation of a swirling effect. These works are also comprised of the same circles or rings, but the determining factor here is the axis of rotation.
SUBTEXT 3, refer 3D computer rendering images - involute study series (above)
It is intriguing to note that this series of virtual studies for the involute series of works were only able to be developed after studying how the physical sculpture is constructed. Without the physical model, it is almost impossible for the mind to envisage this spatial configuration even with the aid of a 3D computer program. Therefore, the involute series must first exist in the real world before the mind can comprehend, and thus re-interpret its composition or coordinates in the virtual space. The virtual realm provides another fascinating counterpoint in that this space functions on a system of three-dimensional axis, and yet its output is commonly represented in a two-dimensional space (monitors, screen and prints).
It is intriguing to note that this series of virtual studies for the involute series of works were only able to be developed after studying how the physical sculpture is constructed. Without the physical model, it is almost impossible for the mind to envisage this spatial configuration even with the aid of a 3D computer program. Therefore, the involute series must first exist in the real world before the mind can comprehend, and thus re-interpret its composition or coordinates in the virtual space. The virtual realm provides another fascinating counterpoint in that this space functions on a system of three-dimensional axis, and yet its output is commonly represented in a two-dimensional space (monitors, screen and prints).
