Optical Painting: 1965-68
By designing units or elements relative to others in a particular way an optically expressive result is shorn of all references. The paintings generate an aggressive immediacy in which the units almost dissolve in perception as they fuse together on a super-visual level distorting the observer’s normal perception. For example, “Reversible Units II” consists of an array of alternating black and white asymmetrical units that are repeated, rotated, mirrored and locked togethe in a unified field of absolute opposition, totalized and immediate. Time in this case seems compressed.