Grid-30 is the final piece in the series. The piece combines three-dimensional elements and positioning of objects to suggest motion and create a scenario with a marked trajectory behind it. The connected fence-like shapes along the border of the grid mark the boundary of the piece. However, there are two squares along the crossing sections of the fence-like structure that gravitate towards the middle. Their attraction towards the middle is based on two details: one is that the crossings of the fence-like structure, if placed on a three-dimensional surface, would reveal an opening at the surface level through where the squares could cross over. The other is that the two dots are positioned close to the edge and usually moving objects are framed (in compositions) with more space ahead of them when they are following a trajectory to show the potential for continued motion in that particular direction (towards the middle).
In the middle we also find a square that has already made it to the edge of the rectangle in the middle, and another one that directly connects with a trapezoid leading to a larger square overlapping a triangle. This triangle points towards the only part of the piece that contains no border, hence suggesting an easy way out. This entire trajectory suggests that squares are making their way towards a platform in the center of the piece to be ejected upwards and away from the entire piece.
...and it is in this way that the Gridz series is also now ready for blast off!
I created gridz sometime around November 8, 2013, which is Hermann Rorschach's birthday. Rorschach was a psychologist that developed the famous "inkblots test" as a psychoanalysis method. The idea of something so seemingly-simple as an inkblot provoking such deep-rooted thoughts to surface fascinated me.
Another concept behind gridz is Piet Mondrian’s style of abstraction (i.e. Broadway Boogie-Woogie). Mondrian abstracted or “simplified” his compositions to the extent of reducing elements to vertical and horizontal lines and primary colors. Similarly, gridz are highly abstracted and limited which makes creating them a straight-forward and relatively simple process (like inkblots!). Ironically, this abstraction and simplicity are what allow gridz to serve as windows to deeper and more complex ideas. In other words, gridz speak directly and clearly, with minimal interference so that the minds of both creators and viewers can take the spotlight.
Gridz share many similarities with mandalas: spiritual and ritual symbols used in Hinduism and Buddhism for meditation and trance induction. Mandalas are generally square-shaped and use symmetry, repetition, radial balance, and many other elements that are also common in gridz. These stylistic elements in combination with a variety of shapes can make gridz highly meditative, taking both the creator and viewer on a journey of self-discovery through association. This process of meditation and discovery is very personal and can differ greatly between viewer and creator.
Other styles of art using similar elements to gridz are:
Regarding the use of descriptive/creative gridz titles: Initially, before completing the 30 Gridz Series, I had envisioned eliminating the use of creative/descriptive names for gridz and adding this restriction to the list of characteristics listed above. The intention behind this restriciton was to extend the minimalist nature of gridz and prevent any additional influence that the title may cause on the observer. For instance, if I called a grid "Bird", the viewer would immediatly think of a bird before even experiencing the piece. Instead, for the 30 Gridz Series I used a sequence of title names in the follwoing format: "Grid-XX". After completing the 30 Gridz Series and experimentally tagging them with descriptive names, I noticed the pieces were instantly more popular--people liked being guided by the title. I decided to make the use of suggestive titles optional, but in its purest form girdz will have non-descriptive titles.