Lozenge

Lumen & Logic

A quilt of square tiles where every tile is a square pyramid seen from above, struck from one of its own four corners and read as contour bands, so the diagonal runs, the chevrons and the concentric diamond bullseyes in the picture are not three motifs but three coincidences of one. A tile's field is the Manhattan distance from the corner it claims — level sets that are straight 45° segments inside a square, which is why there is no curve anywhere in the package — and the ink falls on the odd bands of that distance at a pitch read off the sheet’s short edge, identical in every tile. Where four tiles round a lattice point claim it their fields are literally the same function and close into a bullseye with no join; where two claim it across an edge, a chevron; where neighbours claim different points, their bands step across the shared edge into the ragged 45° seams that are the sheet’s dominant texture. None of those figures is drawn. The flat colour is the same field again rather than a layer over it: the sub-level set below a tile’s own anti-diagonal is exactly half the tile, so painting it gives a right triangle, painting it on two neighbours that claim opposite ends of their shared edge fuses the two halves into a parallelogram, and painting all four quadrants of a claimed point gives a full diamond — one rule, three silhouettes, and an ink band abutting every painted edge because the band count per tile is odd and the anti-diagonal therefore always lands on ink. Each block is packed independently and with 180° symmetry from that small vocabulary, taking a footprint and its rotated image at once so the free cells stay symmetric and no placement is ever undone, and each block spends one shared accent on the shapes that have no axis and a pair of its own on the ones that do. Flat opaque colour throughout: no outline, no gradient, no transparency, no blend mode, no shadow, no texture and no canvas transform.

Medium

Generative algorithm, archival pigment print

Dimensions

90 × 90 cm