Painting Geometry: an abstract language in concrete form

Abstract

My thesis is that geometry is an abstract and universal language that can reflect the inner being of the world in concrete form. I propose that the ideal forms of geometry, like those of harmony in music, have an aesthetic and metaphysical dimension that is capable of touching the most essential part of our being in the world. In this context, I suggest that painting geometry may be understood as an art practice that is closely aligned with the ideals of philosophical reflection, and how, as a consequence of this understanding, my approach to painting geometry is directed towards the realisation of the ideals of beauty, truth and freedom in particular; an approach that I claim shares much in common with the origins of both abstract and concrete art in post-Kantian German Idealist thought and Romantic art. On this basis, I argue that my painting practice is engaged with the possibility of the realisation of an ideal form of expression. This goal may be summarised as the achievement in painted form of a visual or spatial equivalent to the formal language of harmony of music. The paintings that I have submitted for examination may be understood as a direct consequence of my research findings, in view of which my intention is to make a contribution to the current and evolving language of abstract and concrete art. To this end, my thesis serves as an exegesis for the paintings submitted for examination in fulfilment of the requirements of my doctoral candidature.