There are many rooms in the building.

some notes on the work

EFFULGENT GEOMETRIES are primarily interested in structures, patterns and metaphors expressed from the interactions of geometry & light.

Deep Symmetry. Reflections of the Infinite. Pattern & Cadence.

I am interested in the structures, patterns and metaphors that emerge from the manipulations of geometry & light. My endeavor has been to diagram that precise moment of perfect equipoise when idealized forms emerge from Consciousness, experience change and return to their original Source.

The metallic, crystalline or organic physical attributes assigned to the forms are symbolic of matter and energy, male and female, natural and artificial, and the play of opposites. By shadow and reflection, their relationships are inextricably entangled into tapestries of interconnection. By pattern, cadence and symmetry, a certain resonance or frequency emerges, the intention of which is to express an ideal of harmony and wholeness.

In terms of composition, the elements emerge from and rotate around the center as they expand outward from the state of pure undifferentiated Mind into the world as discrete objects with names, forms and distinct characteristics that exist in relation to one another.

The light source is symbolic as well, being divided into three lights; Red, Blue and Yellow. These are the three primary colors which, when combined, all other colors are derived. Also, the illusion of perspective and depth-of-field is eliminated in order to create a visually 'flat' image. This creates an ambiguous space in order to better allow the mind's eye to move things around, over and under, in and out.

Since the work is created wholly within a digital three-dimensional environment, this allows for a close approximation of the actual laws of physics governing the quality of material surfaces, light, shadow and reflection as if the models were actual, physical objects. We therefore have a metaphorical tableau or stage upon which phenomena ideally arranges itself in space and presents itself for our appreciation.

The manual arrangement of each object in the model is meticulously arranged within the 3D space. At this beginning stage of composition, objects have only a minimum of shading and detail. Only when the whole composition looks 'right' is the model rendered in a low-resolution mode in order to better display the interactions of physical qualities; illumination, refraction, reflection, transparency and shadow. This process is repeated many times as all of the physical parameters are adjusted minutely in order to give the optimal effect. This is an intuitive judgement. Once I am satisfied that the proper image has 'emerged', a final, high-resolution render is done. Because I'm looking for the highest level of detail possible as well as an ideal physical size of each piece, the rendering for each piece can take over 40 hours.