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iano watercolour on bockingford cp 10cm x 10cm 4 2011 6 comments labels piano abstracts piano paintings square art 21 april 2011 cellular membrane colour modulations a visual poem animated gif digital composition detail full size 564px x 376px 1998 2011 wayne roberts this animated gif computer image i made around 98 it s a slightly larger version of the same image as on my www wroberts com au website s poetry page i decided to post it here because it relates to the equinox collage painting s compositional rationale see below and gives a feel for the polygonal dynamics alluded to in the commentary to equinox but here the colours rather than the shapes of the polygons are modulating 5 comments 26 march 2011 equinox equinox paper collage on hardboard 91cm x 130cm 2010 2011 w roberts in 2003 i painted two separate vp s see below post varignon parallelograms on unframed irregularly shaped quadrilateral canvases more recently i had the idea of composing a picture consisting of many interconnected and interrelated varignon parallelograms that s what you see here there was infinite scope to intuitively feel my way through this composition it s just that i stuck to this particular theorem in this piece as an underlying unifying principle it s really no different in essence than painting a picture and restricting yourself to say just three colours it s simply a principle that adds another form of coherence or unity to a work and it s kind of interesting when you paint something like this equinox above and you re actually conscious of this qualifying principle or syntactical rule that helps strike a different kind of balance or interchange between regularity and irregularity the main additional qualifying geometric syntactical rule i set for myself was that each side of an irregular quadrilateral in the work would be exactly the same length as and gaplessly adjacent to its neighbouring irregular quadrilateral on that edge this means that the work became by definition a form of tessellation of the plane i e tiling pattern but one that s quite unusual in that it s both demiregular and aperiodic that is half its area is half regular contains interconnecting unique parallelograms that are joined at their vertices and it is aperiodic because there are no repeating i e periodic sequences or patterns that recur at identical or cyclically spaced intervals it is equally regular and irregular other secondary principles include the four triangles that surround any given varignon parallelogram and so defining its encompassing irregular quadrilateral were to be of free intuitive colour choice yet once chosen had to be the same which you can see the total number of colours was restricted to mainly 8 relating to the number of notes in an octave or scale with 1 or 2 additional very closely related enharmonic colours near not only in chroma but close also in value or tone in this way i tried to bring a music scale or key signature concept to the work brighter colours and or those of stronger tone or value i generally restricted to the smaller shapes this work was virtually complete approx 6 months ago but for various reasons couldn t get it posted til now i ve been offline for quite a while due to extenuating circumstances am hoping to now get around to answer emails blog rounds of friends asap so please bear with me there s some catching up to do here if you ve had any bounced emails i changed my isp last year so that s likely to be the reason why and so i may never have actually seen those apologies in advance if that s been so the beginning was fully free and even once started many of the quadrilateral corners could be placed anywhere fully intuitively but others were necessarily shared and therefore fixed into position by a previously placed corner vertex a simple visual poem or metaphor of universal instantaneous non local interconnectedness imagine moving a node point or vertex locally within the composition then think about how other node points and quadrilaterals would have to change in order to accommodate that single change remembering that all shapes and at all times must follow the same syntax rules governing their interdependency the effect would be a simultaneous reconfiguration movement to new positions of all node points and therefore of necessity all quadrilaterals in short of everything else at any distance even for all forms which follow the same syntax and which may extend outside the painting s boundary to infinity in other words the configurations could be interpreted as a captured instant of a dynamic and infinite interconnectedness you can imagine any node vertex in this interconnected form field that if it moves at all then the whole field is of necessity instantaneously reconfigured and must also therefore move in this respect the painting points to an interdependency and interconnectedness of form and motion c copyright 2006 w roberts this idea of dynamically interconnected forms and of their ubiquity in nature clearly resounds within this small photo above looking down towards my feet of a thin wave that was rippling up the mirror perfect reflective beach sands where land meets sea 6 comments varignon parallelograms here s a small vector diagram i made to illustrate varignon parallelogram s paler blue central quadrilateral in image i posted this because it relates to the equinox comp above it demonstrates a fascinating connection between regular and irregular 4 sided shapes proved by varignon in 1731 and known as varignon parallelograms essentially his theorem states that you can draw up any irregular quadrilateral you like i e side lengths can be random you simply connect any 4 dots with straight lines to make a random quadrilateral then and here s the surprise you halve each side and then join each of those mid points to make another quadrilateral inside that it turns out remarkably that the inner quadrilateral is always a parallelogram the regular within the irregular symmetry within asymmetry perfectly apt as a syntactical rationale for a visual composition a geometric collage composition equinox post above 0 comments 30 may 2010 photo and graphic 2010 nature knows nothing about compromise it accepts all difficulties not as difficulties as such but rather as new factors that configure a totality jørn utzon architect of the sydney opera house 14 november 2009 beethoven painting link to larger images here s a link to my art website www wroberts com au showing the recent lvb9 painting installation the images are larger and sharper it s kind of a curious synchronicity that the painting lvb9 and the movie in search of beethoven were composed released within months of each other the artwork lvb9 was completed approx 4 6 months beforehand and i had no idea a major film about beethoven was about to be released at any stage during the time i was working on this piece the movie in search of beethoven has received rave pre release reviews in the media one paper awarding it a 10 10 within the past week or so almost all reviews i ve seen have been positive 12 comments 27 october 2009 lvb9 installation artwork music inpired now on main website 2009 wayne roberts all rights reserved detail view above this work is now on my main art website text consists mainly of extracts from my blog here shown above is a close up view of part of the cd collage section of the painting 2 comments labels beethoven visual art installation art music art connections 23 october 2009 the pacific photograph copyright wayne roberts canberra australia mid south coast nsw australia labels pacific ocean 20 october 2009 indian motif hamilton nz photo copyright 2008 wayne roberts labels art hamilton gardens nz indian patterns wayne roberts 13 october 2009 the lifeboat 56cm x 76cm 300gsm lanaquarelle cold pressed paper wayne roberts winner of the 1996 paul schwartz memorial award american watercolor society new york i decided to show this transparent full sheet watercolor here on my blog for several reasons 1 it seemed to resonate with the spirit of lvb9 see artwork several posts below 2 every so often artists produce works they almost recognise like a kind of déjà vu but not exactly so this happened for me in the above watercolor 3 imo there seems to have entered into the blogosphere a notion that new is better and that we must be seen to be constantly updating and moving forward this can conceivably create all sorts of anxieties be they large or small in this watercolor painted directly and interactively to wet paper without preliminary drawing i imagined the storm as somehow providing the very rescue needed the emblematic lifeboat in a palmar upward thrust of sea amongst the surrounding turbulence figures in this painting would have been superfluous and would have detracted from the symbolism of the lifeboat the rescued figures are emblematically inferred the lifeboa t to me resounds with beethoven s 9th but here i ve decided to relate the lifeboat painting to an entirely different kind of music see youtube vid immediately below a song by the australian band the black sorrows hold on to me the lyric connects all t he rescued rescuing no room on the lifeboat you can hold on to me 13 comments labels black sorrows hold on to me the lifeboat watercolor watercolor seascapes wayne roberts 12 october 2009 cantaloupe island see hear a classic of jazz fusion on youtube herbie hancock pat metheny dave holland jack dejohnette crank it up and click hq button lower right hand corner for better sound qual 7 comments 09 october 2009 for artwork lvb9 please refer to posts below waterlilies centuries lvb9 is a large multimedia installation artwork see lvb9 posts below inspired by beethoven s 9th symphony more commentary is below each image please scroll downwards further new work should be posted soon 2 comments 25 september 2009 waterlilies centuries 10 comments lvb9 9th lvb9 inspired by beethoven s 9th symphony op 125 mixed media on two doors and black stretched woollen textile with internal lighting sound responsive leds cd collage see several posts below for view of entire work this post briefly discusses cd collage arrangement beethoven s ninth symphony was so influential upon many later composers that some even feared nearing their own ninth symphonies the ninth was after all beethoven s final symphony and final major work moreover several other composers had also only reached nine symphonies this led to an apprehension amongst some composers when their own symphony tally drew near to nine some even purposely stopped before getting there the concept of the allegedly square number 9 relates directly to my theory work in pon principles of nature in this painting and in consideration of the above mentioned fear of some composers i had the idea of jumping the hurdle and visually showing an equivalence between 9 and 10 it sounds crazy right like the idea that the earth goes around the sun not everything that seems illogical at first sight is necessarily so counting is not restricted to one method i show a simple example here in this painting of two consistent ways of counting using the same symmetrical form an equilateral triangle of side length 3x3 the upper diagrams shows that if you count the internal self similar spaces you get 9 the lower diagram shows that by counting the node points you get 10 in the painting i positioned the cds at the node points creating a triangular grid of 10 cds yet there remains the now more covert grid of in between spaces 3x3 or 9 equilateral triangles this creates a 9 10 resonance or a 9 10 equivalence principle that i wanted to embed prominently within and communicate via the painting why i chose cds here is not hard to guess but what their spectral diffraction gratings hold sonically may be harder see posts below for further info and or for full view of art 0 comments lvb9 cds in equilateral triangular arrangement wip lvb9 see several posts below for full view of final artwork inspired by the 9th symphony of ludwig van beethoven the cds shown here in wip view 1 show a 3x3 spatial grid tessellation of cds formed by a total of 10 cds this i decided to position in the top r hand corner of the r panel the blog post above presents some interesting history surrounding the number 9 these cds were later distressed and modulated ref other images in posts below 6 comments 23 september 2009 lvb9 cd collage detail region 2 lvb9 cd collage detail from top right corner of right hand door panel see 2 posts below for view of entire installation inspired by the 9th symphony of beethoven 0 comments lvb9 close ups of cd collage area lvb9 close ups of cd collage area r upper r door panel see post below for entire lvb9 work commentary inspired by beethoven s 9th symphony 4 comments lvb9 lvb9 2009 wayne roberts 242 cm w x 204 cm h x 172 cm d 3 d work on two doors and black woollen stretched textile two doors mixed media cd collage oxides detritus mixed aqueous paints acrylic media water inks applied with aged implements intaglio lineation black woollen textile on stretcher frame with titanium internal lighting 10 cds in triangular formation top right this area has embedded stereo sound responsive light emitting diodes leds _________________________ inspired by ludwig van beethoven s final symphony the ninth the 9th symphony of beethoven is arguably one of the greatest symphonies ever written most will know beethoven was completely deaf when he composed this monumental work that he was a genius is unquestionable and it could almost be said he virtually owned the genre of the symphony at least in the classical and embryonic romantic periods it s remarkable that four maybe five of his nine symphonies are among the most loved symphonies even to this day the 9th was without doubt a pivotal work a landmark piece in the history of music many composers who followed were inspired or influenced by it it was even influential in determining the diameter of cds at 12cm in the early 1980s at that time it was decided that a cd should be able to fit an entire performance of beethoven s 9th on a single cd the longest recording of beethoven s 9th was found an old mono approx 78mins and that became the benchmark hence 12cm the story has some interesting twists and turns but that s the gist of it the earlier movements often with passages of agitation seem to reflect his battle against the deafness that had gradually and relentlessly overtaken him the last movement is in stark contrast to the earlier ones in the final movement he ever so serenely introduces the main theme of the final movement via an unornamented beautiful melody on strings and subdued orchestra this theme builds rather steeply and dramatically to usher in the finale including parts for four vocal soloists and large choir it is the first symphony to employ the human voice as a virtual instrument beethoven couldn t conduct the premiere of his symphony no 9 may 7 1824 due to his profound deafness yet he was...