Seven Twice, Seven Twice
Seven paintings are in each work, each work done twice. One work has horizontal paintings arranged horizontally; the other work has horizontal paintings arranged vertically.
Seven shapes are in each painting (one field; six chevrons - three each set opposite in confrontation).
Each shape has variations of one color (hue or saturation). Visual orientation is for a transposition of Isaac Newton’s seven-color scale with one color in each similar shape in each painting across the seven paintings from one color to its complement.
The odd number seven-color scale has complements for primaries chosen from tertiaries. This means going with violet or indigo, say, as yellow’s complement rather than a violet and indigo mix. By selecting a yellow to violet complement for the field (the largest shape) of each painting, each painting or visual step starts out with high value contrasts and proceeds with inexact gradations found intuitively and experimentally in the act of painting. Various hue to complement versions play out back and forth left to right or right to left, up or down, such as violet to green, red to blue, orange to indigo, yellow to indigo as well as the more familiar red to green and blue to orange.
In each of these two works, realizing in paint the seven step sequencing concept in each painting and in all seven of each work didn’t solve the visual problem. Something seemed to be missing. Observational study revealed that positioning each painting horizontally and flipping over every other painting in the sequence gave a zig-zag, out of sequence oddity that was key to dialogue and discovery. With that dynamic, each work “spoke,” bringing resolution and closure.