Minimal Expansionism

MINIMAL EXPANSIONISM

NEW WORKS
By Reif Erickson

Out of tradition into abstraction, traditional painter and landscape artist Reif Erickson has made bold moves into uncharted territory he refers to as “Minimal Expansionism.” Inspired by the work and simplicity of Mondrian, who coincidently was also a landscape artist, Erickson begins with an unorthodox mathematical framework into which his abstractions emerge. Using sequences of numbers Reif refers to as “integral sets of non repeating intervals, which is ever expanding at less than 2 to the nth power." Basically the numbers on the first row represent the measure of space between the lines, and the measure of adjacent spaces are not repeated in the design.

Erickson, inspired by Mondrian, superimposes bold colors within “non-adjacent spaces” to break up and simplify the underlying expansive field. Imposed on this grid like network are adornments to the connecting points which deviate from Mondrian. Unique in Erickson’s approach is his use of mathematics and approach to the spacing of the lines in the grid. For example, Erickson states, “The simplest solution set would be x=2n which would evolve into the sequence of 64, 16,4,1,2,8,32, where the adjacent intervals are illustrated as

64 16 4 1 2 8 32

80 20 5 3 10 40

84 21 7 11 42

85 23 15 43

87 31 47

95 63

127

Here, the central intervals (1, 3, 7, 15, 31, 63, 127) are 2 to the nth power -1.

A more closely spaced sequence is:

16 10 4 1 2 6 18 11 28

26 14 5 3 8 24 29 39

30 15 7 9 26 35 59

31 17 13 27 37 63

33 23 31 38 65

39 41 42 66

57 52 70

68 80

96

Erickson says his original objective was “to develop a grid based on variation of shapes” and therefore chose a more formulated approach to interval spacing. The development of the grid remains subjective to the artist as well as the coloring of the rectangles. The enhancement of the connection points evolved later in his work as a means to expand the grid beyond the boundaries of the canvas, as well as angling the grid within the canvas. Thus, Erickson refers to his painting as “Expansionist.” The minimalist approach refers to the adornments and coloration of the grid itself creating a flatness of the field upon which the viewer may experience the expansion of space. Simplicity contained within complexity is Erickson’s means of holding attention. Deviating from Mondrian’s adherence to strictly vertical and horizontal lines Erickson feels his “non-vertical lines adds more to the underlying dynamics of growth while maintaining perpendiculars adds to stability and strength.”

Erickson foresees his work developing into 3-dimensions where he envisions his work as grids used in architectural elements, and stair rails, and even cylindrical patterns. His next adventure in the experience of these forms will be the cutting out of the white spaces to make room for a visual window or mirror to see the ever changing world. “To view simplicity as the overlay unto the complexity of growth in a world inundated with information expanding exponentially!” Reif’s earliest experiments with grids were originally oversimplified and static and were made more complex by superimposing the mirror image of the grid on top of itself as in 2(31x40) and ultimately the double mirror image of two grid patterns in 4(31x45). “In the creative process one must be willing to risk destroying the original concept to arrive at a solution that maintains interest and harmony.”

All this work is a result of recent efforts put into “New Works” a collective exhibition scheduled for 2009 by the artists in residence at the Arts Building, Auburn, CA. For more info on the upcoming series of exhibitions call 530-885-2787.

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