Three Sided Polygonal Forms and Painting
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Untitled Study 1 - 2000 It took almost ten years for me to stumble onto the form that would resonate with me and come to dominate how i paint right up to the present day. Geometry and in particular the 'triangle' weren't at the front of my mind all those years, rather i was doggedly pursuing a sense of what i should be doing in art. I went through many iterations of painted styles trying to put my finger on the style, technique, colour, shape and material that would put me on the right path of discovery.
Although many might disagree with my methodology; that of working through a range of historical antecedents, nevertheless i had to eliminate through trial and error what did not fit in with my aesthetic. I worked my way through and dissected Impressionism, Expressionism, Surrealism, Dada and Abstract Expressionism and ultimately found myself lodged between Minimalism and Hard Edge.
Sometime in 2000 a triangular form surfaced in my experimentation but it was really during 2003 that the triangle began to occur in my compositions and by 2006 it had pretty much lodged itself strongly at the centre of my practice. How did this happen? I'm still not sure but i do know it was a growing dissatisfaction with organic curvilinear forms that pushed me toward more of a hard-edged approach in composition. I began to see the possibilities as i applied this motif to each new series of paintings in a diverse number of ways. I discovered in the process of working that the permutations were infinite and thus to a degree 'sublime.'
Although many might disagree with my methodology; that of working through a range of historical antecedents, nevertheless i had to eliminate through trial and error what did not fit in with my aesthetic. I worked my way through and dissected Impressionism, Expressionism, Surrealism, Dada and Abstract Expressionism and ultimately found myself lodged between Minimalism and Hard Edge.
Sometime in 2000 a triangular form surfaced in my experimentation but it was really during 2003 that the triangle began to occur in my compositions and by 2006 it had pretty much lodged itself strongly at the centre of my practice. How did this happen? I'm still not sure but i do know it was a growing dissatisfaction with organic curvilinear forms that pushed me toward more of a hard-edged approach in composition. I began to see the possibilities as i applied this motif to each new series of paintings in a diverse number of ways. I discovered in the process of working that the permutations were infinite and thus to a degree 'sublime.'
Increasingly, with each new painting the triangular 'motif' demanded a new way of approaching how my paintings were structured. A free handed organic brush style using oil paint from the tube and glazing mediums was supplanted by a very pedantic and highly structured mode of constructing the painted surface. The encaustic paint medium that i had first tried in 1996 resurfaced gradually from 2001 and took over completely by 2003.
Maybe the most significant jump occurred in 2004 when the mode in which i was drawing the surface of the panel dictated the use of 'masking' tape and from there 'taping' became an integral part of my working methodology. It is around this time that the 'grid' and the importance of the relationships between vertical, horizontal and diagonal lines asserts itself into the work. At that time the geometric connection to the triangle, square and 'X' motifs became apparent and almost overnight i made a 360 degree shift. The transitional images below are encaustic on Korean linen on wood panels and were created just prior to the big shift.
Maybe the most significant jump occurred in 2004 when the mode in which i was drawing the surface of the panel dictated the use of 'masking' tape and from there 'taping' became an integral part of my working methodology. It is around this time that the 'grid' and the importance of the relationships between vertical, horizontal and diagonal lines asserts itself into the work. At that time the geometric connection to the triangle, square and 'X' motifs became apparent and almost overnight i made a 360 degree shift. The transitional images below are encaustic on Korean linen on wood panels and were created just prior to the big shift.
The grid drawn in pencil with a ruler on the linen surface became the vehicle by which the triangular forms emerged. It was a gradual process and occurred over a number of years. Even as late as 2005 the grid and masking tape had not become a complete operation in itself. The painting below shows this in between-ness where one way of 'working' is making way for another.
This painting consists of four panels and the 'triangles' forming what appear to be 'pinwheels.' The pinwheel form was an important 'intermediate' form and although simple in appearance, is striking and highly functional, allowing me to push my compositions in a new direction.
This painting consists of four panels and the 'triangles' forming what appear to be 'pinwheels.' The pinwheel form was an important 'intermediate' form and although simple in appearance, is striking and highly functional, allowing me to push my compositions in a new direction.
Untitled 170205 - 2005
The triangle has been employed in the work of many artists including Paul Morgan, Biggs & Collings and Sol Lewitt as illustrated in the sample images below. Each artist is using the triangle as a point of departure in order to visually extend a personal philosophy of art making whether material or conceptual. With many artists the appearance of the triangle shape in their art is not incidental but a result of predetermined strategy and intent.
Sometimes the triangle motif dominates as a central figure or 'icon' in the work enhanced by line or colour in order to heighten the nature of its 'triangularity.' In other work the triangle is multiplied creating a field of overlapping or contiguous forms that serves as an abstract screen or veil behind which might lurk entrance to a greater presence of 'triangularity...ness.' Either way, some very exceptional works of art have been created using this beautiful geometric form!
Sometimes the triangle motif dominates as a central figure or 'icon' in the work enhanced by line or colour in order to heighten the nature of its 'triangularity.' In other work the triangle is multiplied creating a field of overlapping or contiguous forms that serves as an abstract screen or veil behind which might lurk entrance to a greater presence of 'triangularity...ness.' Either way, some very exceptional works of art have been created using this beautiful geometric form!
In my early painting the triangle appeared incidentally and i played with it as a curiosity. I began to realise that 3 sided forms resonated with me; there was an elegant mystery surrounding the resilient interaction of triangles morphing into other geometric shapes. Two equal triangles become a square, two unequal triangles become a rectangle. Three triangles become a 5 sided pentagon, six triangles become a 6 sided hexagon and on and on it goes.
Suddenly, triangles and their potential dominated what i was doing and my perception changed radically. I saw triangles everywhere, in everything around me; all kinds of triangles, equilateral, scalene, isosceles, hard-edged and curvilinear!
Another artist to check out is Frank Stella who has also produced many interesting triangular painted structures.
Suddenly, triangles and their potential dominated what i was doing and my perception changed radically. I saw triangles everywhere, in everything around me; all kinds of triangles, equilateral, scalene, isosceles, hard-edged and curvilinear!
Another artist to check out is Frank Stella who has also produced many interesting triangular painted structures.
An astounding array of secondary and tertiary graphic vector patterns can be generated from simple means using software programs that manipulate original patterns containing triangles as seen in the images below. There are many digital artists playing with triangles and some of my original compositions have also been digitally manipulated by friend and fellow artist Ben Beeton, producing even more complex and often new, visually exciting art works. You can view some of them here.
There are many distinguished artists working in variant forms of geometric abstraction that include triangles in both 2 and 3D but the list of names is too long to include so if you need a list then click here.
There are many distinguished artists working in variant forms of geometric abstraction that include triangles in both 2 and 3D but the list of names is too long to include so if you need a list then click here.
Of course it's impossible not to mention the number 3 and its relation to the triangle's three external points or interior angles. There is a powerful link between cultures when it comes to the meaning and significance of the number three.
Whether in religion, architecture or mathematics, three is accorded a special place in the pantheon of numbers and is considered mystical, sacred, universal and divine. Of course in the secular realm three is also a very useful way of making sense of the world and calculating the relationship its constituent parts have with each other.
Triangles continue to exert their power over my paintings and i'm glad of it. My art has gone through many changes over the last 21 years and i'm always excited about where it will go next. Below is a detail of a recent painting created for an art/science exhibition at Uluru in the Central Desert of Australia called "Unearthing Uluru."
Although not large at 60 x 60 cm, it was a challenging piece, created under challenging conditions as i am studio-less for a time. The triangular sections are easy to see in this close up. Each triangle was individually taped, painted and then untaped. The process can be daunting and time consuming depending on the minuteness of the detail. Essentially, the smaller the triangles the more difficult it gets.
Uluru Looking Back at You - Untitled 280316 - 2016
There is great potential for the application of geometry to many spheres of human life. Most people probably have mathematics spring to mind when they hear the word 'geometry' but in truth it's much, much more than that!
Geometry and the implementation of triangles in my art and also the art of others continues to inspire me greatly!
Geometry and the implementation of triangles in my art and also the art of others continues to inspire me greatly!
Click below for a great read on the number 3.
Click below for a great read on the number 3.
Click below for a great read on triangles and vector graphics.
