Andrew Smith
Mathematical art has validity beyond graphs and patterns. The artist hoping to communicate this truth is challenged to produce work beyond the bland, the derivative and the underdeveloped. His concepts must acknowledge the graphs and patterns, must see the formulas and equations, but must breathe a new life into the banal and the overlooked. His mission is to convince the observer of the validity of discovery and invention. His reward comes from replacing the myopic complacency of his critics with an acknowledgment of revelation.
I have continued to explore one arrangement of polygons which has yielded me a spiral. I call it the Protogon. Approaching a subject more seriously this way accepts the obligation to more fully understand an artistic subject, as opposed to flitter about, subject to subject. The spiral disappeared when I aligned the polygons left to right and top to bottom. I achieved a visual depth by filling the shapes with alternating black and descending greys. The question remains whether the digital execution of this image is warm enough to be appreciated, or should it be distressed or made by hand? Viewers have embraced even some very rigid subjects in art when expressed in relaxed or casual manners. Here, I decided precision seemed to be required.
To break from a rigid construct and play with it is like writing with letters from an alphabet one has created. I regard my study in polygon arrangements as a serious attempt to convey a universe in my head. I think of them as iconic but also as beacons. To arrange them lyrically in a field is one way to expand that universe and also see the music, enjoy the fruits of creation and allow randomness to spark new possibilities. I do not consider it disrespectful. This means of a layout may seem nothing more than only a decorative device to some. In the future, I will explore combining the use of narrative with it, even though that approach, too, may be considered perfunctory by some artists.