Beyond the Rectangle: Geometry in Dimension

In these geometric works, the canvas is not simply a neutral surface on which an image is painted, it is an active part of the composition. Squares, circles, ovals, and individually stacked canvases transform painting into something that approaches sculpture. By building outward from the wall, overlapping forms, and leaving spaces between elements, each work occupies physical space rather than merely depicting it.

The stacking of canvases is particularly important. Raised geometric elements create real shadows and shifts in depth that change according to the viewer’s position and the surrounding light. A painted square is therefore experienced differently from an actual square canvas positioned on top of another form. Shape, surface, color, and structure become inseparable.

This approach connects the works to artists such as Frank Stella, whose shaped canvases challenged the assumption that paintings needed to exist within conventional rectangular boundaries. Stella allowed the physical configuration of the support to reinforce, and sometimes determine, the geometry of the composition. Artists associated with geometric abstraction and Minimalism similarly explored how repetition, symmetry, material, and physical space could become subjects themselves.

Color adds another dimension to these pieces. The concentrated magentas, pinks, lavenders, and purples create distinct visual identities while allowing related forms to operate as a family. Contrasting tones emphasize individual planes, stripes, triangles, and squares, while closely related shades create subtler transitions.

Ultimately, these works blur the boundary between painting, relief, and object. The geometry is not merely painted onto the artwork: the artwork itself becomes the geometry.