Quadrare
The Material
Quadrare plays with the idea of the incomplete shape. Each piece contains only a quarter of the motif, offering a curve, an angle or a fragment of geometry that makes little sense in isolation. It needs its neighbours.
Once the pieces come together, the fragments resolve into something much more definite. Circles close, lines meet and larger forms appear across the joins. Continue the repeat and those forms begin making connections of their own, until the original square becomes surprisingly difficult to find.
I like this moment in pattern, when the building block disappears into the thing it has created. We know the surface is assembled from a relatively simple set of components, yet our eye quickly abandons them in favour of the larger geometry. It is a familiar principle in decorative design, but Quadrare pushes it towards a much bolder graphic scale.
There is little hesitation in the resulting patterns. They have the confidence of large architectural graphics, with broad curves and strong intersections moving freely across the surface. Terrazzo stops that clarity becoming too perfect. Marble fragments remain visible within every shape, bringing their own incidental marks and variations to geometry that has otherwise been very precisely drawn.
The three Quadrare motifs explore this same idea in different ways, but the pleasure remains remarkably simple. A piece that appears incomplete on its own finds its purpose when another is placed beside it.
Perhaps that is what gives Quadrare its particular energy. The pattern doesn’t really reside in any one component. It exists in the connections between them.
The Patterns
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