Mirrors, Moons, or Portals

Four round paintings, 2013, acrylic on canvas, 41 1/4 inches in diameter (105 cm)

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LP 12-5

Brooding warmth.  Something hot within, but the effort can't repress it. The orderly structure strains, and begins to surrender to something more lively than itself. The old is overcome with the new feeling, the new earth, as much as it can be described. The new breaks away physically and in its ability to be totally understood.

SP 12-11

The device becoming apparent.  The paint itself becomes the organizing principle, circumscribing all elements. It defies efforts to conceal it, and ultimately becomes the statement. How it is supersedes what it is. The two are inseparable, and have a unique context for the understanding of one another.

LP 12-3

Organic contained within artificial. Two motifs, shapes of human effort and organization, natural strokes and textures. Both bared to the eye but subordinate to intent. In each is tension, not yet completely expressed, but unable to be hidden or as of yet, resolved.

SP 12-5

Harmonized natural and constructed shapes. Brushstrokes beget striations in orderly rows. Boundaries both within and otherwise suggest more to be revealed, a larger whole than what is immediately evident. Shown, nature and will in microcosm. In the closest view, perhaps their most mutually beneficial.

SP 12-7

The end of the series.  A simulacrum of nature left to organize itself.  On wood formed according to human terms, new shapes manifest of their own accord.  The absence of outside control in its appearance gives it a certain inscrutability, but remains dependent on the media for it.

SP 12-10

Nature is the organizing principle here.  Stiff regularity gives way to pleasing, meandering shapes, propelled along by its own sense of momentum. Regular circumscription becomes more a matter of caprice than planning.  Texture follows suit.  It comes about by its own terms, forming a larger design through the progression of its own fancy.

Study 1

Foreshadowing.

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Reference material:

"As We May Think" by Vannevar Bush from the July 1, 1945 issue of The Atlantic.
http://www.theatlantic.com/magazine/archive/1945/07/as-we-may-think/303881/

LP 12-2

A spontaneous enigma. Regimentation immediately invites attempts to decipher, and it becomes a sphinx.  It is a matter of ease rather than passion, but becomes transfixing. In its inscrutability, shapes present themselves, but are ambiguous as to whether they are intended or accidental.

LP 12-1

The beginning of the series. It sets the tone for what is to follow. Natural space and idea rendered in a human mode of byzantine complexity.  Angular tension vies with organic order. Organic ease cracked and fractalized under the effort to capture it in a more simple way.

fractal |ˈfraktəl | Mathematics
noun
a curve or geometric figure, each part of which has the same statistical character as the whole. Fractals are useful in modeling structures (such as eroded coastlines or snowflakes) in which similar patterns recur at progressively smaller scales, and in describing partly random or chaotic phenomena such as crystal growth, fluid turbulence, and galaxy formation.
adjective
relating to or of the nature of a fractal or fractals: fractal geometry.
ORIGIN 1970s: from French, from Latin fract- ‘broken,’ from the verb frangere.

Dictionary is an application developed by Apple Inc. as a part of OS X. The application provides definitions and synonyms from various dictionaries, Wikipedia articles and a glossary of Apple-related terms.
Dictionary was introduced in OS X 10.4 with the New Oxford American Dictionary and Oxford American Writer's Thesaurus (as well as the Wikipedia and Apple sections). 

LP 12-4

Nature's contest with contrivance resolved. Orderly pride in contest with ambivalence is the basis of the dialectic. Ultimately, it can best be understood in the interaction of its parts; the compromise between the natural and the artificial reaches its own order.