MECHANICS OF ABSTRACT PAINTING
411
The large central area of activity which was from the begin–
ning the most striking feature of number l, now approaches its
definitive form. The two black shapes are so cut out that it is
apparent that they
could
fit into each other, which gives the spec–
tator an unconscious desire to push them together. This by itself
would make a disturbing composition, but the rather static shape
between holds them steady, while the heavy line near the apex of
the lower angle seems to divert the eye toward the trapezoidal rim,
and on the way it follows the segments cut off by the divisions.
The second painting is divided into fairly rectilinear sections
slightly varied by the obliques. (The little repeated half-circles
are too small to count as more than tactile rhythms.) Up to now I
have neglected the important tactile aspect of abstract painting.
As soon as one looks at shapes depicted on a plane, one's fingers
instinctively seem to pass over the surfaces, acting as a sort of
transmitter between the eye and the brain. Passing (hypotheti–
cally) over this particular surface the fingers, guided first by the
eye to the central section,* reach the district above, comprising
six horizontal lines. Here they encounter a texture akin to guitar–
strings; guitar strings are in no way depicted but the plastic equiva–
lent is something of the sort. The other smaller circles function as
holding-spots at other places where they seem to be required.
Repetitions of lines and curves are also introduced where strong
staccato rhythms are needed to break the massive weight of the
rectangular forms.
Composition number 3 is of a different type; conceived as a
mural decoration its prime requisite was to hold on to the surface
of the wall (in contrast to the easel-painting which provides
a
sec–
tion removed from the wall behind it.) Purely directional (or
linear) configurations, which play such a part in numbers l and
2, are avoided here (the lines in the chart merely signify the boun–
daries between adjacent shapes), as they always tend to detach
themselves from the mural surface; and the wall-consciousness is
enhanced by three of the shapes which are frescoed in imitation
of wood. In other words, instead of standing out against a back–
ground, the shapes here fit upon a single plane, except for the two
small central black shapes, which are fixed exactly and intensified
by being modelled in low relief.
•A square or circle is always first to catch the eye owing to its completely static
lack of direction.
