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The Supremacy of Line, 9.






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The painting below uses exactly the same materials as the previous painting to investigate exactly the same relation between line and texture. However, in contrast to the previous painting, the painting below is a success because it was actually painted in all four orientations simultaneously.

Observe also the following point about representation. This painting is meant to be a landscape - in fact, a mountain gorge. However, despite the fact that landscapes in the real world have only one orientation due to gravity, this is a landscape in all four orientations. I should note that my purpose was not to create some opitical pun, like Escher. I was driven by artistic goals - i.e., the need to ensure the power of tension relations. We have a canvas. It has an edge. These are our givens. We cannot integrate these givens with the marks that will be added to them, if we do not make the painting work in all of the four orientations in which our givens are symmetric. These are aesthetic concerns.




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