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At about this time I saw that
the "Universe" series was two distinct though connected
geometries. The first, "Open" and its derivatives,
essentially surfaces caused by a rotational conjunction of
like parts; the second group helical shapes, twisting because
of a slight displacement of mirror matched annuli
.1: "Emergent
Universe" c. 1980. Vinyl ink on vinyl c. 3'x3'x24'.
2: "Double Diminution x 9"
c. 1981. 14' x various. Vinyl ink on vinyl
.3: 4: Studio views c. 1980.
This mirror conjunction, initially creates a helix but, as
the displacement gradually increases, the form segues from
a helix to a surface similar to that of the Open series. As
shape and direction are determined by the angle of this collision,
I envisaged colliding particles, making reference to this
by calling a portion of an installation in Gallery Vistavka,
Kiev, Ukraine, "St. Laurent's Bubble Chamber". The
title referring to Stanford University's now disbanded Bubble
Chamber.
5: "Upper Arlington DNA" c 1981. 2 parts
each c. 20' long.
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"Double Diminution x 9" established
a table for "Universe" sculptures, after which the
studio was filled with experimental versions. "
Upper Arlington DNA" was shown at the Municipal Center's
Concourse Gallery.
Postage stamp versions, constructed for an
exhibition in New York at the Bertha Urdang 57th St gallery,
were later combined with full size pieces in a Columbus Art
League Invitational curated by Jeanne Fryer-Kohles. 6:
Installation view, Nationwide Gallery, Art League Invitational.
1980. 7. 8: Gallery views, Bertha Urdang, 57th
St. New York, 1980. 9: Side view "Asymmetric
Universe", 1981. Vinyl ink on vinyl. c. 4'x2'x3'
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Colliding Particles
