Geometric Triptych in Blues and Browns

13 in x 21 in each,

9/25

My goal was to create a set of three paintings – a triptych – in geometric shapes filled with blues and browns to yield symmetry, rhythm, and chromatic harmony across three distinct yet interconnected canvases.  The blues evoke tranquility, introspection, and a celestial tone, while the warm browns and golds serve to ground the work.  The grid for each canvas is based on dividing the long axis into thirds, and then laying down individual grids, with the first canvas having a mixture of circular and straight lines, the second with all straight lines, and the third having only circular lines.  Then I used the exact same colors to fill in the shapes across canvases.  Each panel leverages cool and warm contrasts to create tension, unity, and depth.  All three paintings use a mosaic of symmetric, interlocking forms with mandala dots laid down to punctuate these shapes as accent marks and to unify the triptych, guiding the eye along pathways that suggest movement and rhythm within the static symmetry.  The intention of the triptych is to unfolds like a visual narrative to explore the different geometric ways of developing art using straight and circular lines.  The first panel melds both approaches, looping ovoids and mandalas around symmetrical axes; the middle panel is intensely angular, radiating outward with star-like forms; the third piece is more circular and centripetal, with radiating spokes and arcs that converge and pulse from a single locus. Subtle variations in texture—matte versus glossy, smooth against rough—lend the triptych a tactile quality and serve to enhance the sense of materiality, making the paintings feel both timeless and grounded, recalling traditional mosaic techniques as well as modern abstraction. The repeated elements and precise craftsmanship speak to an underlying desire for order, connection, and resonance, inviting viewers into a meditative experience of pattern, possibility, and harmony.