PARADOX OF PARALLELITY – DRONNINGLUND KUNSTCENTER 2005

EUCLID GEOMETRY

In 2005, my artistic practice became deeply entangled with the language of physics, particularly the way it seeks to describe
and systematize the world. I found myself drawn to the principles of Euclidean geometry, especially the notion of parallelism
—two lines, extending infinitely, that never meet. This idea, so absolute in its classical form, begins to unravel under different
conditions. If the Earth is a sphere, then parallel lines may, in fact, converge. If we redefine space through alternative matrices,
then the very foundation of Euclid’s certainty dissolves.

PARADOX OF PARALLELITY

This paradox of parallelity became the conceptual core of my work. I translated these mathematical and physical inquiries into
painting, allowing color and form to echo the fluid yet structured nature of space. The paintings emerged as a balance between
control and surrender—where I worked with strict parallel compositions, yet allowed the pigments to flow, move, and find their
own organic trajectories. This interplay between precision and chaos, between the rigidity of theory and the unpredictability of
artistic expression, fascinated me.

SCULPTURAL REALM

To further explore these spatial tensions, I stretched my canvases over three-dimensional wooden structures, pushing the
traditionally flat surface of painting into a sculptural realm. This decision was more than just an aesthetic choice; it was an
expansion of the very nature of the painting plane, bending it into a dialogue with depth and perspective. The works thus hovered
between two and three dimensions, much like how Euclidean principles shift when applied to curved or non-Euclidean spaces.

THREE LEVELS OF SATURATION

Color, too, became a key component in my investigation. I worked with three levels of saturation—fully saturated, partially
saturated, and unsaturated—each representing a different state of engagement with form and perception. Much like parallel
lines that behave differently in various spatial conditions, the saturation levels introduced a dynamic interplay, suggesting
that perception itself is contingent upon the framework in which it is situated.

PARALLEL SYSTEM OF THOUGHTS

Through this body of work, I sought to transform abstract mathematical principles into a visual language—one that oscillates
between order and dissolution, between the certainty of Euclidean thought and the boundless possibilities of artistic interpretation.
Here, abstraction is not merely a departure from reality, but rather a parallel system of thought, a meditation on structure,
movement, and the unseen forces that shape both our physical world and our ways of perceiving it.

SEE OTHER ABSTRACT PAINTINGS

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SEE OTHER ABSTRACT PAINTINGS

Above selected abstract paintings  – Paradox of parallelity- SATURATED 25 cm x 25 cm x 3 cm




Photo from the exhibition at Dronninglund Kunstcenter 2005

 













     



Above selected abstract paintings  – Paradox of parallelity- SATURATED 25 cm x 25 cm x 3 cm.

      





Above selected abstract paintings  – Paradox of parallelity- PARTLY SATURATED 70 x 120 cm

 

   
      


Above selected abstract paintings  – Paradox of parallelity- UNSATURATED 140 x 140 cm