'One Hundred Views of a Metagon': Edition: Images
Here are digital photographs of a few samples of the prints. The prints are flawless and precise, but our photographs are less than satisfactory. As we are working to improve them, we have for now renounced even trying to show here the fourteen most delicate and subtle prints.
View One. The Theme to the 17th, adding the closing line for all polygons; the
polygons are outlined in varying Grays from White to Black, then filled in varying colours from Yellow to
Magenta to Cyan over a pale Blue grid.
View Three, a Theme to the 64th, defines a very thin spiral rendered in varying
light to dark to light Grays over Deep Red.
View Seven assembles four Themes to the 47th in a cross pattern, only retaining
their vertices; the corresponding vertices are joined with a straight line from the north to the south
theme, and from the west to the east theme, each line being coloured with a varying Gray from light to
dark over light Gray: a four-leaved Black clover.
In View Nine, six Themes to the 11th are rendered alternatively in bold and fine
Black lines, placed with a slight constant offset, reminding of the 'Graphic Tectonic' and the 'Structural
Constellation' series of drawings by Josef Albers.
View Eleven. All the segments of a Theme to the 128th are replaced by thin
Black circles. While the implicit arrangement of the multitude of circles by the Theme is extremely
complex, a wave of higher concentrations defines a clear spiral in delicate Hues of Grays
reminiscent of a delicate graphite drawing.
View Eighteen, a stark Theme at the 4th, is rendered in concentric equidistant
lines of alternating Black and White: Geometry Painting of the fifties and sixties.
View Twenty-Three is derived from
Max Bill's sixth variation: again, the Theme extends not to the 8th but to the 62th so that
the virtual spiral manifests itself clearly as a density wave, and a dark Gray background
accompanies the interlacing of the concentric half circles which are Black, White and Cyan.
View Twenty-Four, Graphite Nautilus III. This is akin to Views Fourteen and
Seventeen, choosing another cut lengths and another Grays variation mode for the lines. The
intersections of the myriad of lines and their changing density create explicit and implicit spirals
made of points, or of zones of perceived gray intensities as the faintest lines dissolve into the
White of the paper.
To compensate for the missing photographs, we are working on a series of icons directly rendered to image files, to be posted soon.
The referenced photographs show the prints presented in mats. This is only to work around the limitations of the web for large image files. The prints should rather be floated to show the full extent of the sheet.