The Tango series paintings are based on ideas I have been working with for several years: wide, narrow paintings based on geometric ratios with overpainted grids meant to reflect the nature of the universe: born out of chaos with an internal structure that relies on geometry. Structure and chaos are thus inherent in the universe as layers.

I had been making tall rectangular works and didn't like the fact that, as in most large scale paintings, it is difficult to truly see the upper and lower parts of thed painting. Then I saw one of Monet's lily paintings which was very wide yet and not very tall.

Tango refers to the relationship of partners in the dance. Both act together while remaining clearly separate, one being the primary focus of the dance. The partners move in a straight line until they encounter an obstacle and then, using fancy footwork, turn in a new direction.

The Tango works are nine feet wide with two thirds of the painting a grid and the remaining third is a non-grid area that acts to visually ground the works while exemplifying the boundary layer effect of crystal growth which is based on geometric forms. The proportions and ratios are derived from Gutenberg's page layout for the 42 line Bible or B42.

I begin each painting with an idea of two colors for the two layers of the left side of the canvas and build from there. I never try to see the second color layer while working on the first because color does what it wants and always surprises you. The left side of the work will begin to suggest what happens on the right.

The titles are juxtapositions of words whose meaning is poetic rather than literal.

For questions or inquiries contact me. george@georgeverethompson.com