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DESCRIPTION OF PLATES.

All pictures are carried out as marquetry with veneers in natural wood colors (no dyed woods were used) on 1/2 inch plywood or 1/2 inch particle board. Each is 32x48 inches large. They are branded, signed and numbered. A copy of each picture is deposited with the Copyright Examiner, Visual Arts Section, Library of Congress, Washington, DC 20559 and is copyrighted (Registration numbers: VAu 209 857, VAu266 066).

SELECTED LIST OF PICTURES WITH A BRIEF DESCRIPTION OF THE DESIGN

(number, title, width,height, date)

PLATE 1:, THE GENIE IN THE BOTTLE, 32, 48, 3/88

Intersecting Y and Z pentominoes create P, I, L and Z pentominoes which in turn form duplicated I, L, and Z pentominoes and a P-pentomino from which the intersecting ones originated. The intersecting pentominoes form tessellations and an intersecting rotational symmetrical shape.

PLATE 2:,THE MONKEY AND THE ROSE, 48, 32 ,2/93

Aperiodic-impossible and sprialling infinite regress patterns based on the W.

PLATE 3:,AT THE CRATER LAKE, 32, 48, 4/92

Infinite regress of an impossible object which is based on an Escher patterns and an infinite regress tessellation are both based on V,P,L and Z with N in a guest role.

PLATE 4:, , AT THE RIO GRANDE,48, 32, 3/94

Bending infinite regress patterns of L,N and (L+N) with filler sequences.

PLATE 5:, WATER OF LIFE, 32, 48 8/92

A theme consisting of P,F,L,W,Z and U forms an infinite regress pattern with matching edge divisions that leads to a Penrose starcase. After a slight modification it tessellates the plane.

PLATE 6:,THE RUNAWAYS,48, 32, 4/94

'Laced' infinite regress pattern of Z and Y and 'compact ' infinite regress pattern of (Z+Y) .

PLATE 7:,SANDY BEACH, 48, 32, 5/95

Number 1 in WAVES-series

PLATE 8:, ST. PETER, 31.75, 48, 8/85

Study of the F-pentomino that forms an impossible rock, a key, a rooster and a table for twelve.(Study of F-pentomino)

PLATE 9:, TUSCANY , 48, 32, 5/93

3- and 4-fold spirals built from the N and a single square together with an impossible tessellation made from the N.

PLATE 10:, CAMELOT, 48, 32, 1/93

Various patterns made of L and P.

PLATE 11:, CEZANNE'S APPLE TREE, 48, 32, 12/93

Counterpart to PLATE 13. In this case the shearing out V's arise from a center point.

PLATE 12:, ALEXANDRIA, 48, 32, 1/93

Impossible, infinite regress objects, infinite regress patterns and transition patterns made of L, P and V.

PLATE 13:, THE MEASURING FOOL, 48, 32, 11/93

Infinite regress pattern made from the P is capped by V's. The V's seem to shear out of the plane and form a Penrose triangle.

PLATE 14:, DAVID'S HARP, 32, 48, 12/87

Infinite regress creates a vanishing point that turns the interspace between the dark human figures into the smaller (but otherwise identical ) bright human figure. Impossible objects like the harp, an impossible star of David (constructed out of pentominoes) and an impossible cross populate the scene.

PLATE 15:, PERPETUAL CASTLE, 31.75, 48, 12/87

The self-component U leads to a never-ending cycle from part to whole to part...

PLATE 16:, BATTLE WITH THE DRAGON, 32, 48, 1/88

An infinite regress pattern of spiralling T's gives rise to an impossible string of T's. Four of them regroup into the tiles of an Escher tessellation and ultimately turn into a star.

PLATE 17:, THE MAGIC CASTLE, 32, 48, 7/88

(Homage to Vasarely). A three-dimensionaly displayed Escher-pattern that uses pentominoes in the way Victor Vasarely uses squares.

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