A“Geometry without Gravity” is a visual proposition exploring our infinite universe, in which planets have evolved over time in unison in spite of gravitational force. As the ‘’International Space Agencies’’ explore and discover our near and distant cosmos, new dramatic images surface. When “Man walked in Space” showing the world exquisite grace, beauty and weightlessness of a human body in constant dynamics, one felt challenged and drawn towards the unveiling of boundless deep space, made visible through the media of television. I was inspired. It awakened in me an intuitive desire to conceive and articulate this stunning marvel – into a visual language.
“Geometry without Gravity” is most importantly concerned with outer space experienced by “Astronauts” and “Cosmonauts”. It is crucially the incomparable views of weightlessness in perpetual movement in three hundred and sixty degrees volumetric space, made possible by advances in science and technology in the latter half of the twentieth and twenty first century.
The two main visual concepts in art (amongst others) are “Vanishing Point” perspective with shadows in Western Art and “Overlapping Space” without shadows in Eastern Art. More over, Paul Cezanne (1839-1906) in his visionary late paintings opened up visual avenues for artists to invent in the new millennium. In the early twentieth century the “Pioneering Cubism” of PabloPicasso (1881-1973) and Georges Braque (1882-1963) led the way in its innovation and inventions of a fresh visual language, “Les Demoiselles d’ Avignon” (1907) being the most celebrated and innovative painting. However, cubism is an earth oriented visual thought. We view it from eye level, from above and from the sides – as multiple vantage views simultaneously.
“We can only perceive space when we break free from Earth”. Kazimir Malevich (1878-1935)
Each of my work contains its own unique format, enhancing the floating composition parallel to the wall surface. The interaction of colour, texture, format and the cut out pregnant space within the whole composition are primary elements in my visual vocabulary. Through our gaze in time, each work becomes interactive participant in the revelation of fresh visual fields, as the painting unfolds in revealing new parameters and creating multiple readings. In my recent individual works and the manuscript book “Geometry without Gravity” (‘03–‘07,104 pages, 30.05cm by 61cm wide when open), variable visual rhythms are created at each scanning gaze. These invisible threading of structures in celestial space and the mysterious magnificent mathematics of our firmament are themes in my concept of “Geometry without Gravity”
