The pursuit of the circle, its geometric purity and philosophical weight, has obsessed mathematicians, philosophers, and artists for millennia. Traces pursues this obsession in two intertwined movements, revealing that every ideal contains the seeds of its own rupture, leaving only traces of the ideal.

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This project roots itself in the mathematical continuum connecting the triangle, the most elemental closed form in Euclidean geometry, to the possibility of a true circle. Through successive iterations, quadrilateral, pentagon, hexagon, the work inches toward circularity. The image that emerges is not a finished object but an asymptotic event, the visible trace of ongoing subdivision, addition, and approximation.

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Generative principles drive this ascent. Sequences, recursion, proportional systems, and rule based patterning orchestrate permutations. Iteration yields some images, while overlays of circles or polygons create interference and ambiguity. Flatness becomes generative as shifts in density mark the line between calculation and contingency.

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Philosophically, the work turns to potential and actuality, the paradox of endless approach, and the idea of an immutable form. The circle remains a telos, a not yet state, its impossibility made tangible by friction between ideal and instantiation.

When the primary form stabilizes, a second operation intervenes. The canvas is cut into fragments and rearranged according to patterns of chance and algorithmic instruction. This strategy echoes a lineage of avant garde practice that includes chance collage, cut ups, combines, and modular systems. In every case fragmentation is generative, not destructive, revealing hidden structures and opening fresh pathways of meaning.

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The cut also invites a deconstructive reading, with meaning emerging through difference and through the gaps created by interruption. Any sign or form carries within it traces of what it excludes, coherence is never final. The splice therefore becomes the site where form and language turn fluid, capable of being reinscribed with each recombination.

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Fragmentation acknowledges entropy within every system, mirrors the mind’s habit of assembling wholes from parts, and underscores the impossibility of a fixed ideal in a world of constant change. Two temporalities coexist on the surface, the calm of rational progression and the unrest of sudden disruption.

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Traces is not a sequence of variations but an epistemological experiment, a sustained encounter with the impossibility of the perfect form. It stands as a meditation on asymptote, error, and the generative consequences of imperfection, a proposition that the circle, like all ideals, is most profound precisely where it is never fully attained.

 

I am deeply engaged with the tangible aspects of my practice This series embodies that principle.