It’s there, alone, come to draw an outline.
Liberated, it rises up or burrows down, grows rigid in angular articulations.
It is colourfully multiplied, and its twinning adds motion.
It arranges itself in subtly shifted squares.
Suddenly, in a clever arrangement, it neatly and precisely disappears, leaving room for flat tints, and draws without leaving a trace.
Full of colour or crackling texture, the shape appears, without the need for a line.
It exists only by dint of the merest suggestion or by an intelligent juxtaposition of tones.
Decoration steps into shapes to delight the eye.
Everything teems, sparkles, vibrates, comes alive.
Even solid colour, given substance, injects meaning and whimsy.
It partially infiltrates the space, leaving room for emptiness.
The photograph deftly re-emerges, like quivering paper cut-outs.
Lavish shadow suggests texture, perspective, imitating volume.
There’s an evocation of space, vanishing points add another dimension to motifs, trompe-l’oeil lines make sense upside-down.
When the object itself doesn’t actually spring from the line.
A single subject – an image inside an image, echoing to us, like a recurrence, a reminder.
Its stage entrance is quite studied, its placement thought-out, to make the eye rove over the targeted pathway.
A dialogue between multiple interlacing arms celebrating diversity.
The line surfs across these waves of arrayed, perfectly interlinked objects.
It grows wavy, pointillist, breaking, overlapping and intersecting itself.
Or it moves into the air between foliage, making them turn about with brio.