In and of Itself

As mentioned previously, I’m working on numerous projects right now. One of which is simple shapes. (https://brittconley.com/2012/03/05/mobius-stripped/) They counter the mental haul I’m having to endure over my big project and allow me to explore the purity of shape for shapes sake as opposed to how I’m using it in the larger project.

For a long time, I’ve been working on how to deal with the weighting, coddling and touchable connect-ability of spaces. I’m currently working on the opposite. How do line function? How does it get it’s forward propulsion and how does it self generate enough visual lift and thrust to begin again. How does it work with melody? How is the energy most beautifully built and what does that architecture look like? This is all part of my personal summer project in service of the philosophic and architectural realities I need to understand to best construct the larger year two bigger project. Related but different.

These are all problem solving sets for me. I’m looking for the architectural pressure points that can secure the entiety of the lines melodic thrust without weighing it down or anchoring its propulsion with some sort of secondary buttressing. Below, the main tented lower arch is pressurized by the weight of the vertical oval which compresses it just above it’s grounding connection. This thrusts the weight up into the left side of the arch while sending the diminished overflow of energy overtop and downward to the right. The curving inward of the right side of the arc creates a catch for the rest of the energy caddy corner to the original vertical one. Thus the visual scenario for the stand on the right section far more delicate and singular, in that it acts more like a training wheel rather than if the line had not curved in and thrust the energy into the grounding. Had the curve not pulled inward, that small catch space would not absorb much of the energy. The result would be the right side of the arch would have felt like 10 burly men were thrusting the energy down into the ground. This essentially would have ended the melody, where as raising these catch spaces and moving them along the line itself keeps the propulsion lively and flowing around endlessly. Which is what I’m looking for in melody… how to capture the float-ability of a tumbling forward passage and how to deal with the general following of a weighted divoting that necessarily pendulums the swelling thrust back upwards. I’d like to find a catch space that would mitigate the elongated bottoming weight and pull that a divot fundamentally creates.

The arcs on the upper left are made ’roundingly’ taught by the pull of the pressure point of the vertical oval. Even as the end of the ribbon is left unfinished, it’s energy has been collected along the way as well, so that it is firmly and visually secure.

Looking forward to rendering these on nicer paper and perhaps as paintings as well over the summer. As for now, I’m tired and heading to bed…