The artist’s understanding of inertia and a body at rest or in motion within the natural world; extends into a command of storytelling within the representational world.
The story connection completes the dimensional shift between the art and its impression on the viewer. This shift helps the viewer understand the future at large, and the more impactful without being obvious in function, the more the artist’s handling of materials is Art.
For any production or processed object, its impact is owned by the composition.
Representation favors rectangular compositions in two ways: 1.) the focus within the representation is framed by rectangular architecture; and 2.) the art object will be displayed in a rectangular space.
Painting and film are especially owned by rectangles, and the favored proportions are 1x1, 2x4, 2x3, 3x4, 5x7 and 9:16.
Gravity and inertia and timing are ruled by irrational numbers, not rectangles. Shapes made by irrational numbers are parabola, Golden Spiral, circle, ellipse. This means that the shapes of storytelling [shapes of the natural world and physical geometry] come off weird in a rectangular, constructed world – instead of the inverse, which is that the rectangular world is weird, as a construction inside of the natural world.
The artist exploits that conflation of “what is weird” through The Liar’s Paradox.
The artists do not mind being called liars – when they’re lying; but not when they’re telling the truth.
Because of The Liar’s Paradox, the artists coax the viewers into stories told by pretending that something is not what it is, resulting in understanding the art object as materials handled by the artist to tell a story. We call this at its highest levels – at full expense of function - “Romantic.”
But what if the artist is telling the truth? What does it look like? More than the sum of the parts?
X will mark the spot.
Truth can be told by navigating the path between the shapes of the natural world and the shapes of the constructed world, seeded by the square. While by itself the square asks for a centered composition; connecting the corners of 2x4 creates the first Golden shape: Golden Triangle.
Connecting both sets of corners creates the X, finds the center, creates a radius to use to find the Golden Section of those lines, finding the dimensions of Golden Rectangles, and, progressively, The Golden Spiral. Composing with these shapes enables the artist to tell truth within lies inside of only being an object pretending to be what it isn’t, inside of a larger lie inside of the consequently shrouded truth.
When you see X in the middle of a composition – the shape, an implied line, literal X, an exchange of positions, or any discordance – the artist is invoking exception to The Liar’s Paradox to tell a truth to the viewer – some story from the natural world, that if it could only be said out loud, would change everything.