I : 31
GRAPHIC TECTONIC

1. Synopsis

The term tectonic implies that these abstract compositions are “constructed,” built with elements that are produced by mechanical means and arranged in an emphasized mechanical order.

It is obvious that these constructions have no modulations (gradual increase or decrease of plastic activity) within individual lines, though graphic art ordinarily employs such modulations, which I have used, for instance, in making drypoints.

Although there is no actual modulation in the lines themselves, there is an illusionary modulation of volume and space which results in plastic movement. This illusionary modulation is produced by groups of equally thick lines and is achieved through their light-dark relationships and their constellation.

These results require the use of ruler and drafting pen and establish unmodulated line for a legitimate artistic means.

In this way, they oppose a belief that the handmade is better than the machine-made, or that mechanical construction is antigraphic or unable to arouse emotion.

In this age of industrial evolution both methods have their merit.

2. Syntax

These are built exclusively of horizontal and vertical lines which are the most two-dimensional and therefore the most nonspatial elements.

These abstract compositions perform space and volume illusions of multiple images, thereby inducing several interpretations.

Receding directions are imaginary, appearing only through related junctions of horizontals and verticals.

Movements are not confined to one direction only, but interchange. Thus solid volume shifts to open space and open space to volume. Masses moving at first to one side may suddenly appear to be moving to the opposite side, or in another direction.

Likewise, upward acts also as downward, forward as backward, and verticals as horizontals. Parallels, horizontals, or verticals produce sloping planes; empty spaces become solid.

Black lines produce gray tones and, for sensitive eyes, even color.
Thus we cannot remain in a single viewpoint; we need more for the sake of FREE VISION.

(From an exhibition catalog, Cincinnati Art Museum, 1949.)