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# Ω

## Sackcloth, cord, strap

2023 - ...

###### ‘Mathematics, rightly viewed, possesses not only truth, but supreme beauty - a beauty cold and austere, like that of sculpture.’

Bertrand Russell

‘Ω’ is a series of textile works exploring the concept of topology. This work questions the structure of the universe through geometric patterns, linked to theories of cosmic folds.

Topology is a branch of mathematics that deals with properties describing how a space is com- posed and how it is preserved when deformed. This subject, which has a mathematical, quantum physical and philosophical dimension, began with Euclid and addresses the question of whether the universe is finite or infinite.

The title refers to the constant ‘omega’ which represents the ratio of the energy density to the critical density of the universe, which is the limit of its expansion - and thus the question of whether the universe is finite or not.

El Lizzitsky writes in his 1915 essay ‘Art and Pangeometry’ regarding the relationship between art and mathematics, that the representation of perspective is scientifically determined. It has evolved from a one-dimensional temporal and a three-dimensional spatial representation to a multi-dimensional mathematical and a hyper-dimensional scientific representation. Suprematism, where foreground and background merge, has led perspective to infinity.

Around the time Malevich was painting his ‘Black Square’ in an attempt to introduce a new space-time dimension into art and reduce it to its essence, various scientists were proposing the- ories in an attempt to explain the origins of the universe. Jean-Pierre Luminet proposes in 2001 with his theory of the ‘univers chiffoné’, the universe as a space that is both finite and infinite, or in other words, where the beginning and the end are identical. As light always travels in a straight line, it always returns to its starting point within this space and causes reflections of light; so-called cosmic folds and reflections.

‘Ω’ contemplates these cosmic folds and reflections through a series of simple tessellations of the two-dimensional grid and its transpositions into complex three-dimensional patterns. This language of abstract geometric forms is inspired by the surface of the grid and the process of folding and knotting. Aesthetics and technique are thus inextricably linked, and ‘Ω’ is part of an investigation into the logical control of a design process in order to achieve an objective aesthetic result.

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