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The Embroidery Cycle, 1993
In this cycle of paintings I wove red lines following some simple arrangement throughout the whole format. It was the first time I applied line overlaying as until then I had always placed the individual elements and lines onto the surface next to one another. In some paintings the format itself defined the line shapes, elsewhere it was a simulated section of an otherwise infinite structure. Line overlaying generated graded colour values creating a vague illusion of a spatial structure. Areas left unpainted were highlighted by a blue or black contour. I wanted their shapes to stand out instead of acting as merely a neutral background, thus emphasizing their composition while retaining the two-dimensional quality of the painting.
The largest painting used the principle of interweaving horizontal and vertical undulating lines covering the whole pictorial surface in both directions. This principle, which I elaborated further, was applied to a number of other paintings in the future
I refer to similar works by the working title of “paintings to stimulate the heartbeat”. I studied the optical effect of a blue rhythmicized line on a red surface. After I found the correct colour tones, their quantitative ratio, given appropriate lighting the paintings optically vibrate. The effect was reinforced by using two values of red and two tones of blue and bluish-green the difference between which is hard to distinguish at first glance.