Trapped Sun, 1966, 20" x 30", acrylics on board

Sun Trap-1, 1966, 24" x 18", acrylics on canvas Sun Trap-2, 1966, 24" x 18", acrylics on board SOLD

Captured Sun, 1966, 20" x 30", acrylics on board

Sun Trap-4, 1966/67, 36" x 24", acrylics on board

Apportionment-1, 1966, 36" x 24", acrylics on board

Apportionment-2, 1966, 36" x 24", acrylics on board

Apportionment #3, 1966, 36" x 24", acrylics on board

Kirk's Works, 1966, 20" x 30", acrylics on board

Apportionment #4, 1967, 40" x 30", acrylics on canvas

Fibonacci 1, 1967, 40" x 30", acrylics on canvas

Fibonacci 2, 1968/69, 40" x 29", acrylics on canvas

Dervish, 1967, 18" x 24", acrylics on board	Blue Dervish, 1968, 24" x 32", acrylics on board Collection of LJT
Red Dervish, 1968, 18" x 24", acrylics on board SOLD	Green Dervish, 1971, 24" x 24", acrylics on board Collection of RFT

[Untitled paradoxical figure] (1968?), 30" x 30", acrylics on board	Unit Structure, 1969, 36" x 36", acrylics on canvas a.k.a. "Flawed Structure"
Red Progression-1, 1969, 24" x 18", acrylics on board Presented to Lisa Conesa

Progression From Red Centre, 1969, 36" x 36", acrylics on canvas, a.k.a. “Red Progression-2” Presented to Fran & Brian Varley

[Red Progression variation], 36" x 36", acrylics on canvas

Subconscious Lee, 1969-70, 36" x 36", acrylics on canvas

Blue, Turning Grey Over You, 1970, 22" x 30", acrylics on canvas

Parker's Mood, 1969-70, 36" x 36", acrylics on canvas

Torsion-1, 1970, 20" x 30", acrylics on canvas Collection of MT

Torsion-2, 1970, 20" x 30", acrylics on canvas Collection of MT

Four In One, 1970, 30" x 30", acrylics on canvas

"MV Monte Umbe", 1973, 20" x 30", acrylics on canvas

Blue Bangor Boogie, (1971), 36" x 36", acrylics on canvas

Bangor Boogie-Woogie, 1971, 36" x 36", acrylics on canvas

Abstract design, (1971), 10.9" x 14.3", watercolour on card (double scale size)

Abstract design, 1971, 11.6" x 16.4", watercolour on card (double scale size)

Lester Leaps In, 1971, 30" x 30", acrylics on canvas

Blue Lester, 1971, 30" x 30", acrylics on canvas

Lester Variation, 1971, 30" x 30", acrylics on canvas

Planet 1 (1971), 24" x 24", acrylics on board

Planet 2 (1971), 24" x 24", acrylics on board

D.O.U.S.S., 1972, 40" x 60", acrylics on canvas. colour scheme: light blue line on purple ground, circles from pink to purple.

While at Durham University Summer school, I saw and was impressed by this (see right) and other examples of Taoist calligraphy. Ch'i, the Cosmic Spirit, fills the world, giving life to nature, movement to water, energy to man: it is the centre of Taoist breathing exercises, involving the art of smell and burning of incense.    The search for ways to represent ch'i visually accounts for abstract tendencies in the Chinese art of the period. The undulating movement of air filled with concentric rings of incense-smoke appears in both painting and callibraphy.    And simultaneously, I was made aware of that mathematical paradox, the space-filling curve—a line that links all the points within a space and on completion, fills up the entire space. (The paradox? Well, since by definition a point lacks dimension and a line is uni-dimensional, there is no prospect of ever filling the space! Ugh.)    The two things worked on my imagination. Take the space-filling curve; in its initial stages, the expanding inside of a square. Divide the squares into four and link the centre points of each (a). Use this as a module or basic unit and any number of modules can be linked to form larger shapes (b) and (c).    We have a basic procedure capable of infinite extension. Variations in the linking points between the modules create irregularities in the overall pattern.    Making the points into circles and inclining the links to capture something of the movement of Taoist "smoke whorls" creates an optical reaction by colour dazzle and spins the eyes flickering along the line with nowhere to rest. Vary the colour scheme, make the curve a closed system—and the eye wanders forever, held within the design.

"Diagram of Change" from the Taoist canon, attributed to the Chinese emperor Hui-tsung of the Song dynasty (b. 1082, ruled 1101-1125/6, d. 1135)

Unicursal Life-Line, 1972, 36" x 36", acrylics on canvas

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