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Current Exhibit
Updated: 8.7.2007
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FREDERICK LYNCH
Divisions
This current series, (Divisions) is based on an idea that repeated sectoring of a given area can produce infinite shape variations. The resulting visual effect is a systematic display of controlled chaos and random patterns. Each shape, possibly unique among 1500-2000 adjacent shapes and framed by upwards to 15,000 lines, is initially formed by a more or less 120º angle. There is a certain reliance on the premise that it is nearly impossible to execute a perfect 120º angle, by hand, most of the time. While a true 120º angle produces shapes that invariably lead to hexagons and symmetrical fields, the "handmade" lines result in imprecise angles of subtle varying degrees, in an ever increasing drift away from geometric order and so avoid the severity of right angles or grid restraints. Chance becomes significant although an occasional mid course correction is often made when a line is headed towards an awkward pattern or configuration. I try to avoid sets of parallel lines and squared shapes.
There are two systems employed. The first is a 3 line division of the entire canvas, with each resulting section again divided in a similar fashion, taking some pains to produce shapes of equal area. 6, 7 or 8 additional divisions of the ever diminishing areas follow, usually until it becomes impractical to continue the sectoring process. The second method begins with a centrally placed 3 line "Y" configuration, each line of similar length, and then each end of these three given a set of two more lines, at approximately 120º to the original line; each set completes the next 3 line configuration. This continues, usually in a clockwise direction, until the canvas is covered. These two approaches are indeed systems, but the process requires quite liberal adherence to systematic application, with much rule bending and conscious courting of random results.
Serial and repetition issues often come to mind during the present painting sessions. While I think of this latest body of work as serial by way of recurring format and motifs, I have tried to start each new painting as a departure from its antecedents, the new exploring a deviation from, rather than a variation of, the earlier. The serial aspect of "Divisions" is more noticeable in the preparatory drawings, small but curiously thorough, black line diagrams which show a much more subtle transition from one to the next. Perhaps one in 20 becomes a painting.
Repetition is a more significant issue in the Division paintings. Because an obsessive mark making pursuit is often the subject of some painter's work, and indeed an accumulation of marks for their own aesthetic sake may be central to their work, it is my feeling that my paintings are about systems that aid in producing new and seemingly countless shape variations. The different 'systems' that I utilize are so contrived as to leave constantly changing and unexpected results; permutations, considerable metamorphosis and particularly startling -- to me at least -- intriguing patterns and configurations. The process, although physically tiring and mentally puzzling at times, is also so obviously logical and natural to me. The various brushstroke activities are relatively uniform in sequence and execution ( brush to palette, brush to canvas, back to palette over and over again) and have a pleasant cadence and rhythm, which often allows me to slip into a "zone" and sail along without the strain of concentration. So, while these paintings may at first seem to reflect only an interest in the accumulation of marks or lines, the process is strictly a means to another, much more elusive but satisfying goal.
Scale is a significant element in this current work, particularly with regard to the size (and shape) of the canvas. The "right" relationship between the width of the lines and the over-all size of the canvas is an ongoing puzzle. "Divisions" depends on lines, many lines of varying lengths and densities; The perception of compatible combinations of line and area is important. The pleasing and satisfying scale of the larger paintings with lines only 3/16th of an inch wide, appears just right, so far. The degree of complexity matters, as does the impasto range given the lines or shapes.This is an ongoing investigation, probably never to end. In order to further refine the sensations of scale, I have paid some attention to edges and particularly the corners of the field, inserting or adding various shapes that act to contain the line work and help support the idea of a distinct object rather than a view of endless activity. The corner shapes often act as color supplements to the somewhat pronounced graphic nature of the paintings. And lastly, the corners remind me of those wonderful paper triangles used to hold photographs in the albums I had as a child.
Finally, the issue of content begs the question "Do these paintings have any meaning, or message?" Do they exist in order to simply give aesthetic pleasure or do they mean something, or tell us something? While metaphorically relating to any number of social conditions, their conception and raison d'etre is mainly to explore visual possibilities and the sensations that may be triggered. Implicit in this pursuit is the resultant niceties of new and interesting forms as well as the anticipated pleasure to be experienced. To be "aesthetically gripping" is a significant goal. All other positive associations, e
evocations or implications are bonus points, incurred with the advantage of a second look. I believe these paintings can indeed mean something but I leave that to the viewer.
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