Something in the structural and spatial contrast in this work seems very reminiscent of WB Yeats’ fascination with the duality of interpenetration of the divine and mundane; something which he explored collaboratively with Michael Robartes and summarised in a book titled ‘The Second Coming and which extrapolates the significance of balance mathematically expressed as a gyre. To this end they construed a collection of relationships devised geometrically of revolving squares, spheres and cones formulating gyres intersecting each other at diverse angles. These often resulted in configurations of tremendous visual complexity, yet was founded on a simply philosophical premise: . . . “The mind, whether expressed in history or in the individual life, has a precise movement, which can be quickened or slackened but cannot be fundamentally altered, and this movement can be expressed by a mathematical form’ and this form is the gyre.
The intersecting forms illustrate the merger and separation, in life and history the two fundamental aspects of human experience; first, the ‘Faculties’, which tend to dominate…” impinging as they do on the immediacy of daily life and routine and are more easily expressed by discernible experience. Contrasting these with sublime and the subconscious and the less tangible construct of the mind and imagination would be the ‘Principles’ and in Yeats’s construction of this dichotomy, this embraced also the ‘After-life’ by which the implicit rendering of Meaning in such a reality’ construct’, had to be understood as dogma.
Eluding Yeats was the artistic implication of line, matter, substance and colour. The momentum here in this work, caught up by the linear against the spiral, in the still centre of all that Aspiration implies something close to pictorial divination. I like the fact its lyricsim is left unresolved.