Natalie Dower

London, UK

The influences on how I organize my work and how it has developed have come, curiously, not from painters, but from practitioners belonging to a variety of disciplines.

Particular examples include chemist and poet Primo Levi, composer Stravinsky, astronomer Timothy Ferris, mathematician Martin Gardner, the ideas and writings of all of them having had direct influence on the work I have done. Also the book  on the science of vision, Eye and Brain, by Richard Gregory was very helpful in my transition from the figurative discipline prevailing in the art schools I attended and which did not satisfy me.

A constant factor in these influences was an acknowledgement of the universality of the language of mathematics and of the beauty of reasoning and logic.

This does not imply that I am mathematically gifted—I am not—but it does seem that the stimulus to the imagination engendered by discovery, at whatever level possible to the user, is the important factor; there is no correlation between the sophistication of  the calculations and the sophistication of the end product.

Rules based on proportion, number and rhythm are present in all my work. This is the language I use, and this exploratory way of working accounts for the varied nature of what results, varied in character, scale, and use of materials in two or three dimensions.

However, the finished work should speak for itself in visual terms, and, although it can give additional pleasure, viewers should not feel that deconstruction is necessary.



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