Every Summer the Bridges organization holds a conference devoted to Mathematics and the Arts. Bridges is an international organization whose sole mission is to foster and explore these interdisciplinary connections. This year the meeting was held in Baltimore Maryland in the beautiful University of Baltimore Law building. Each year the Art exhibition is one of the highlights of the gathering. This year was a particularly impressive display of work in a light and open space over three floors. Here are two photos of the gallery.
It has been very difficult for me to just single out a few art works to write about, for a complete overview I suggest checking out the Bridges website. Today I will focus on two works by two different artists that struck me particularly.
I will start with a pencil drawings by Taneli Luotoniemi. I have a real affinity for hand drawing and I feel Luotoniemi is able to achieve a remarkable subtly of line form and grey scale using only a pencil. “The Hypercube” Is a 2-D representation of a 3-D depiction of a 4-D cube. There have been many example of two dimensional art referencing hyper cubes but this is definitely a a more organic representation then most. This is achieved by the use of thick curved lines that meet at crossings of more solid shapes, instead of small points. By adjusting the grey scale of the pencil mark Luotoniemi gives the lines the appearance of weaving over and under each other. This is one of the most graceful visual interpretations I have seen.
David H. Press builds elegant hanging sculptures that are a type of 3-D line drawings. The support structures are curved shapes but the wires within these frameworks are straight lines that form what appear to be curved surfaces. Symmetry plays a major role in Press’ work. In “Three Great ¾ Circles in Orange” the use of three circles would have created a sphere, but the ¾ circles create an asymmetrical frame work. Within the wire line work, however, there are some smaller areas with symmetrical properties. We are used to seeing complicated symmetries in Mathematical sculpture, but the use of the ¾ circles rips open the sphere, granting the viewer a fresh look.
There were so much interesting work on display this year it is hard to discuss it all in one blog post, I will write more next week.
Paul Pagk is a critically acclaimed NY painter who work deals with abstract geometries. The 33 Orchard gallery is exhibiting a selection of his recent works on paper. Titled “November Drawings” this entire series of work was produced during November 2014. Tacked unframed onto the gallery walls, the work consists of a series of abstractions created in graphite, ink, oil pastel, pencil, pen, watercolor, and gouache.
The drawings were created in a prolific progression: the artist completing up to twenty works per day. They relate to the themes in Pagk’s painting practice. The works on paper seem to visualize the artist’s stream of consciousness. The mind to paper immediacy creates an exciting and fresh take on geometry. The work at 33 Orchard have a much more sketchy and expressive quality then some of the artists work on canvas. Many of the drawings in this show have Mathematical elements.
This work consists on a red and black rectangular grid with both horizontal and vertical lines of reflection symmetry. The red spaces do not have clean edges instead the pigment goes out beyond the sides of the rectangle. The black lines that make up horizontal and vertical markings give the work a sense of movement. You can really see the hand of the artist.
A 2-D rendering of the outline of a 3-D rectangular prism, this work has a band of purple as a background. The delicate black line drawing is in the foreground. An extra vertical plain is sketched through the prism and out beyond the purple band. This vertical element, in conjunction with the 3-D object, seems to allude to the Cartesian coordinate system. I feel Pagk’s success in producing such large selection of work so quickly and thoughtfully is due to his dedication to his painting practice. The “November Drawings” are a more direct and tactile representation of mathematical ideas. In my own drawing process I refer to my mark making as mathematical meditations, and I think this description also applies to Pagk’s month of drawing.