LYRICAL, INFINITE-GEOMETRY
Infinitely Expandable Patterns
Texts by Laszlo Pierlot
• Infinitely extendable mathematical lattice structures.
• This infinity is symbolic: it reflects the infinite and indivisible nature of the cosmos.
• The search for universal truth: through infinitely expandable patterns.
• The appearance of the hidden mathematical codes of the universe in the visual world of the painting.
• Humans tend to treat "infinity" as a distant, unreachable point, think of perspective perception. However, this complex geometry shows infinity 'here and now' through its repetitions.
• The variable, multifaceted geometric structure is an open system: a window onto a detail of the infinite cosmic fabric.
• The goal of spiritual geometry is to find the center, in this case by becoming involved in the quasi-cosmic fabric.
• Order and beauty are not aesthetic luxury, but a means of inner peace and connection with universal systems: from the earthly to the transcendent-universal.
• The clarity of the minimalist visual world is based on the suppression of visual noise, and this is how it wants to affect the viewer, but complex geometry wants to elevate it through the visual order. The former can be thought of as an empty room where there is silence, while the latter as a perfectly tuned chord that echoes to infinity. Both provide peace, but the latter also carries a deeper, transcendent truth.
• The observer of the silence of minimalism escapes information overload. For him, peace is reduction: when there is no stimulus, there is no tension. This is the aesthetics of mental pause. On the other hand, infinite complex geometry is not based on lack, the eye rests because wherever it looks, it finds regularity and meaning. This is not a pause and a void, but an intellectual engagement: the soul does not switch off, but tunes in to a higher vibration.
• Emptiness, nothingness, can be frightening or meaningless, because it does not reflect the presence of the Creator, who is “everywhere.” A bare surface can appear unfinished or lifeless to the eye—as if it lacks a soul. However, the aesthetics of patterns, the denser, infinite complex geometry, reveals completeness: it speaks to the soul. For some, this very “filled” surface is suffocating: they identify freedom with empty space. They feel the pattern as a constraint or an unnecessary complication that obscures the essence. In fact, the aesthetic stance of the middle way could be the savior, in which there is room for omission as well as condensed content.
• A minimalist work, such as a wall object, is a self-contained, closed unit: its boundaries and texture can be observed by the recipient, that is, it is object-like. While the infinite-geometry pattern is not object-like, but part of an expansive network. It has no real boundaries. While in the former we look at one thing, in the latter one sees a connection, a process. The more uplifting recipient experience here comes from the fact that the individual dissolves in this infinite fabric and does not feel isolated.
• Minimalism is quite intellectual, you have to understand the concept, the art historical context, and perhaps discover the ideal proportions. The multifaceted, infinite geometry based on omission and condensation also builds on strong intellectual foundations. But it is not up to the observer to fully understand the patterns and the underlying historical relationships, but rather to let them be drawn into the structured, expandable spectacle with a kind eye. During the mental operations, they can experience cosmic scales. The geometrically based motif system is already transforming: the overall spectacle becomes lyrical, providing the soul with both homeliness and transcendent certainty.
