The geometries of the series are based on tessellation, a surface comprised of regular (one shape) and semi-regular (several shapes) tiles, filling the surface and defining the overall shape of the artwork. Most of the ‘origami’s’ present an ‘irregular’ contour following the tessellation pattern; these are defined as ‘freeform’, in comparison to those contained in a rectangular form. The geometric patterns are based on at least two geometries: a positive, derived from the tessellation and corresponds to the unfolded state of a tile, and a ‘negative’ shape, resulting of its folding. The amount of positive/negative geometries, the tiles resolution, is displayed in the artwork title. This logic of a pattern-within-a-pattern is complemented by colours.
The backside of the tiles is coloured, rendering it ‘indirectly’ visible due to its reflection on the white surface. The coloured sides of the tiles become ‘directly’ visible due to the folding. As such, colour underlines the tiles’ motion and reinforces the alternation of positive and negative shapes.
The motion of the tiles follows a pseudo-random logic. The permutation of the tiles’ state and their motion, complements the strict geometric order and colour logic, constituting a play between ‘positive’ and ‘negative’ geometries, ‘direct’ and ‘indirect’ colours and two and three dimensional shapes.