My use of geometric shapes as symbolism began in the late 1980's. The Deluge was the first painting to include planes of pigment that represented our earthly world. In Cubed Wave, the representaton of a spiritual light in the form of a white square beckons through a milieu of darkness. For many years, the rectangles where placed parrallel to the picture plane to emphasis the right angle dimensions.
A single white geomteric shapes also symbolizes a heavenly creator - who's vastness is only partially revealed. Consequently, the paintings evoke a heavenly essence. Over the years, these rectangles have rotated their positions counter clockwise, emerging from the top of the canvas, pointing downwards with part of the white rectangle revealed. This part or corner of the rectangle resembles an inverted triangle. The vertical placement creates momentum and pressure within the picture. This movement is apparent in later paintings like Origin and Conversion among others. The Draw of Man and Contemplation encorporate this motif with pastel colors. This progression began in 2000 and continues through 2018.
Concerning the hard edged shapes
Gallery 5
In Late 2017 while studing the structure of Leonardo Da Vinci's The Last Supper I was intrigued by the V shaped space between Jesus and John. The contour of Jesus is a triangle and the left side is an inverted triangle. A familiar triangle. Realizing that many of my spiritual abstracts had this shape and usually in white. With curiousity I overlayed the images over and under Da Vinci's.
'The Last Supper'
Around 1495, Ludovico Sforza, then the Duke of Milan, commissioned da Vinci to paint “The Last Supper” on the back wall of the dining hall inside the monastery of Milan’s Santa Maria delle Grazie. The masterpiece, which took approximately three years to complete, captures the drama of the moment when Jesus informs the Twelve Apostles gathered for Passover dinner that one of them would soon betray him. The range of facial expressions and the body language of the figures around the table bring the masterful composition to life.
Leonardo da Vinci (1452- 1519)
The Path – August 1887
THE SYMBOLISM OF THE EQUILATERAL TRIANGLE — Lydia Bell
We reach true expression in proportion as the energy of going out is at one with the energy of coming back: in other words when the impulse of the creature in aspiration is one with the Creator in inspiration, man finds himself a part of the line of the triangle, a part of the word that "in the beginning was God." To express the truth of the triangle, is to manifest the supreme energy of the universe, and that means the bringing of the line of life in ourselves into the line of truth in ourselves. This is the true work of existence.
The Last Supper 15" x 31"
His arms, head and body form a triangle, as well as the space on the left hand side between him and the figure to his left. The disciples are also nicely arranged into groups of three along the length of the table.
One interesting fact is that there are lines of perspective that radiate from Christ’s head, indicating that he is the focal point of the painting. These perspective lines blend in with the ceiling and walls. totallyhistory.com
It is interesting to note, that with Christ as the center piece, how he is in fact well framed by the doorway. This provides contrast between his figure and the outside, as well as bringing out eye to the most important figure on the piece.
The Draw of Man, 79" x 59" x 3"
The Tree of Life, acrylic, canvas, 24" x 36"
Tempest, 54" x 67", acrylic, canvas
Hope deferred makes the heart sick, but a longing fulfilled is a tree of life.
Ayers Collection, Maryland
Commissioned painting symbolizing Proverbs: 13:12
Ships of Contrast, acrylic, canvas, 30" x 40"
Creation Construction, acrylic, canvas, 74" x 52"
Guiding Light, acrylic, canvas, 30" x 30"
d.mcGeary studio
