HOWARD NEUFELD, artist

The Structure:

Why use Phi as a Structure - as an "open" grid?

Early there was a mis-trust on my part in using Phi or more commonly known as the Golden Section, as a structural element in my paintings.

- Will it restrict?

- Is it a superficial cliche' of spirituality?

- A gimmick? A novelty?

- A vane too common intellectual code?

- A "ready-made" as it were, too cleaver to be insightful?

- Will it be taken seriously?

We've all seen grids used as a structural element in any number of abstract paintings. Some of the most recognized examples are those seen in paintings by Mondrian. However, unlike those of Mondrian, grids are most commonly seen as a "closed system," providing order with its familiar regularity or even a kind of rigidity. They are usually some kind of pattern formed with a common frequency, typically using equal divisions of a chosen dimension and/or their fractions, to form an order.

I use Phi intuitively in developing my structures. As a fractal ratio it creates a grid of patterns that are both responsive and flexible in their relative and simultaneous interactions within themselves and also the square. This allows them to function as an "open system", a responsive one that can be free from being mistaken as Order. This not only allows it to tolerate chaos, but might even require chaos to make it whole - to make the painting a sensual experience.

Improvising the Structure:

Can improvisation still prevail? The not knowing what you are doing - the searching and finding the un-obvious structure - the uncanny surprises - the "what will happen if I ...?"

The Structure is developed by using improvisation and is not premeditated. Like a "philosopher's stone," Phi provides a never-ending source of possibilities. Because of its direct relationship with the square, I improvise structures that layer freely between the square and the Golden Section. The GS also has a way of manipulating while being manipulated that cannot be foreseen. It's unpredictable; I never stop discovering something more each time I use it. I can understand why it has been called "sacred geometry." Working with it is also not random. I choose to keep, discard, or continue to improvise with it as to alter it until I feel "an inner vibration in the human soul." - Kandinsky.

As found in "Concerning the Spiritual in Art" - Wassily Kandinsky: "Form; representing an object (real or otherwise) or as a purely abstract limit to a space on a surface."

Geometry as Space and Time:

Geometry exists beyond our human emotions, ego, motives, communication, and expression. We have always related quite strongly to geometry as found on some of the most ancient of artifacts and some 30,000 year old cave walls; today is no exception. And we can relate on all levels of our Self - intellectually, sensually, emotionally, and spiritually. Geometry is truly a universal language. Geometry using Phi creates a unique space, one that can operate with flexibility and dynamics that can be considered an "operational reality." I use it as a sort of visual equation of space-time.