100.

Title: No Room To Move
Media: Original painting in Designer's Gouache on Strathmore illustration board
Size: 27 in. x 27.75 in.
Original's Price: $1,235
Original Available (y/n): [Yes]
Available Format(s): Original Piece, Matted Prints, Note Cards
Price(s): $1,235, $85, $5.25 ea respectively
Year of Completion: 1996
Catalog No.: 96-1
Purchase Information: Contact the artist


I had not painted for several months prior to beginning "No Room To Move."
And for this reason, as in the past, I felt much more comfortable designing
something with a repetitive pattern. There was "comfort" and "balance" in the
arrangement of shapes -- or at least this was my intent. I say this only
because I must also admit my "discomfort" with this painting. And without
going into any detail, I will only say the painting was done at a time in my
own life where I felt most "stuck." It was not until much later (after 1996)
when it felt more comfortable to move away from images which looked and felt
somewhat "ridged." Possibly these are somewhat negative or biased
interpretations.

On a lighter side, it was my intent at this time to see what an arrangement
of six (6) shapes looked like when placed together in a way that satisfied
three (3) requirements: Those requirements were:

a) they would need to have a width of exactly 1 inch

b) they would need to be arranged EQUALLY AS FAR APART from one another as
this

and

c) they would each have to be unique in shape WHILE AT THE SAME TIME fitting
into a square "format" very close to a 8" x 9" dimension (7 7/8" x 8 7/8" to
be exact).

I was intrigued by this design challenge since it would require some thought
in two related areas. How could the these shapes be entirely different from
one another while still "fitting" into the nearly square rectangle AND what
would such a design look like if it was replicated 3 more times so that a
total of 4 identical "design composites" coexisted IN A LARGER PEFECT SQUARE?

Part of the solution was to rotate each sub-design 90 degrees to the left
(when "moving" in a counter-clockwise direction). The other part of the
solution was to arbitrarily "pick" different lengths for each "bar". The
center-most area of each sub design is somewhat unique in that it is NOT 1"
in dimension. It is "closed in on itself" and APPEARS not to satisfy the 1"
rule. If one considers this "closed in" aspect then the 1" rule can still be
satisfied. Finally, as with most abstract geometric designs, I was curious
what this overall design would look like if an entirely DIFFERENT (and
freehand) design was superimposed over the previously described design. This
appears as a 4 X 4 banded web-like, diagonal grid system. It was THIS that
enabled me to "break the design up" into areas which helped facilitate a
color scheme.

The color scheme has the following aspects:

1) Areas not involving the 4 sub-designs are to be considered the background.
They are BLACK.

2) Each "WEB" grid-band must appear to lie OVER or UNDER another (or several)
bands. Note: There is no predictable pattern to this arrangement and is
admittedly arbitrarily chosen (to be OVER or UNDER) neighboring bands based
on a "rough rule" of "darker color bands looking better UNDER lighter color
bands.

3) Each web band must have its own unique color scheme AND their hues (red or
aqua or yellow, or purple for example) must influence what happens UNDERNEATH
the band in the following way:

a) The hue must be A SHADE OF THE HUE if it is influencing an area that does
NOT involve the unique 1" shapes in the 4 large squares; ie., the square
itself.

b) The hue must be A TINT OF THE HUE if it is influencing an area that DOES
involve the unique 1" shapes in the 4 large squares; ie., the 1" bars
themselves.

c) The hue must be A TINT OF BLACK (grey) if it intersects a
"background-only" AND these tints of grey must EACH be different in intensity
since these grey areas DO in some cases intersect one another and need to be
differentiated.

d) The CHOICE of colors for the web-bands must be arbitrarily chosen FROM the
colors found in the sub-designs over which they lie (and vise versa).

e) The ORIENTATION of the 4 sub-designs must (as in most of my GEOMETRIC
designs) have their STRONGEST colors CENTRALLY located -- in this case the
YELLOW areas.

This pretty much describes "No Room To Move." There is symmetry and balance.
And there is some sense of confinement, at least for me. It is hoped the
design itself is viewed APART FROM the confining aspects, since it is a more
comfortable feeling to have more room in which to move in life.

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