Wave space art is holistic in that the shapes, themes, rhythms, and spatial textures are defined and influenced by the geometric configuration of the chosen space. The interweaving phase fields form the individual elements, the basic building blocks of larger shapes which in themselves can build to increasingly larger wholes.
The choice of the geometry to be used depends, of course, on the artist's intent. Some spatial configurations are more dynamic than others; in other words, they have a greater sense of action, or vitality, than those of a more gentle, "expressive feeling". For example, in Fig. 3.4 our Cartesian character's attitude is somewhat static; it lacks a sense of motion that is expressed by the subsequent examples. This dynamic can then be emphasized or diminished by the use of color and tone in the rhythmic structure of the painting itself. For example, red in the character might suggest a hot, aggressive, passionate individual; while a blue might express a cool, thoughtful character; and green, a calm, comfortable personality. Or such colors could be used to characterize the background environment of the painting to enhance or diminish the drama.
What we are doing here is creating a world of space, color, rhythm, and texture where the shapes become living things, experiencing the trials and tribulations of the environment they inhabit - plus their own episodic changes and transfigurations.
In the genre of art, my work would be considered abstract; however, the abstract components often imply literary content - that is, an abstract narrative or metaphor. In other words, I try to convey an idea or story exclusively through abstract forms, as suggested above. Indeed, our imaginary character of Fig. 3.4 could be considered venturing through the three different spatial environments and experiencing various physical and/or emotional transfigurations as implied by the geometric dynamic. Another example can be seen in my IWS painting, "Come Together", Fig. 4.1.
Figure 4.1 IWS "Come Together"
Figure 4.2 "Transfiguration"
Figure 4.3 CWS "Rhapsody for 9 Notes"
This painting is episodic. Beginning at the left and progressing right, through a steady rhythmic space, separate elements, or parts, come together forming a complex whole - a shape theme, or leitmotif, at the mid-point of the painting. It is subsequently transformed into a linear, dancing combination of like figures, and proceeds further through a rhythmically agitated space to the end of the painting where it is seen penetrating a vertically static, dark rhythmic color column on the verge of entering a blank, monochromatic space. It could be the end of the story or the end of a chapter. It could be "read" from right to left for a different interpretation. In any event, how the painting is approached, experienced, and interpreted is entirely up to the individual observer.
my art is perceived as visual music; and indeed, in many cases, it is my
intent. In the context of the painting, my theme may be a single shape
as in Fig. 4.1 and 4.2; or as a group
of separate elements, Fig. 4.3, much in the same manner
of music notation in a score. The theme, is subsequently developed through
various color keys, color/tone harmonies, and thematic manipulations, i.e.,
turned, flipped, dissected, distorted, reversed, etc. - all depending
what I, the artist/composer, hope to convey.