This artwork contains multiple sources of pattern. Historically, the tessellations top right come from an 1860 tiling manual on how to best work with a single tile arrangement of two right angled triangles into a square, divided on the diagonal black to white, and the multitude of ways in can be arranged for best effect.
Essentially, there is a grid of squares, which are rotated in ninety degree intervals, and little else.
These antique plans are joined by new generative elements, where the design is born purely from code and symmetry. This extension on the pattern design is another from collaboration with coder Chris Godley.
The wave of tessellation is made from generative elements, where the nature of the tessellation that the mosaic makers of old applied to their craft is taken into code. This is applied to decreasing sizes of square mosaic and then arranged together by hand.
I’ve taken the binary nature of this single element as the best way to represent data - the world of absolutes, ones and zeros, on and off, black and white. We are stuck in the modern age now, where celebrating disorder is a necessary part of honest work.
This is an idea, spawned from old plans, translated into newer mathematics, given power by tools and the directed hand of the makers in ways that weren’t possible until now.
The depictions of what appears to be chaos are exactly that, what appears to the observer to be chaos, but they aren’t. In this case, as in many other places, chaos has a pattern.