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A No. 1.Top left. Fausta Squatriti, Progressionof S9ums, watercolourandcollage, 121X 100cm, 1985. In thisseries, aprogressionof squareswas produced, starting with one square. No.2. Top right. M.G. Martindill, TheDragon, fluorescent screen print intended to be viewed under ultraviolet light, 85 X 55 cm. (Courtesy Dane and Co., London. Reprinted by permission .) Note that the fluorescentcoloursmust not be coated over black. No. 3. Bottom. Henry R. Clauser,Light Quanta V,acrylicon canvas,46 X 46 in, 1985. One of a seriesof paintings in which the patterns of light are images of photon emissions. The array of cells was formed by constructing the picture plane as a logarithmicgrid. The interiors of the cells are composed of a progressionof discrete color tone changes. B No.1 .Top left. Rita DeaninAbbey, Exit Glacier,A-34, porcelainenamelfired on steel, 24 X 24 in, 1986. Organic shapes and the contrast of colorand texture allude to the energy of movement and sound. No. 2. Top right. Albert Friscia, Ceres, Kinetichrome, 23 X 23 X 5 in, 1967. This work, which displays a formal-informalapproach, was based on impressionspertaining to a distant asteroid. No.3. Bottom. Janet Saad-Cook, Alembic, sunlight, mirrored stainless steel, dielectrically coated glass, 8 X 3 ft, 1986. The materials that reflect sunlightto create this Sun Drawing are in the patch of sunlightat the lower right. ...


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