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The compositions were to be screen-printed, featuring white half- tone solids of different sizes. A total of 35% relative opacity was seen as suf cient, though with certain less transparent areas, since the composition covered the windows from top to bottom.
Just implementing contrasts and similarities was not enough to create sequences of ‘ gural induction’. What was also required were permutations of groups of forms in other groups of forms, thereby achieving a redistribution of contours on the virtual matrix made up of the contours of the contiguous gures.This uneven structure is rhythmic, algorithmic. Local algorithms link the dif- ferent surfaces, playing with regularities (rhythmic variations)
and irregularities (the removal or addition of subdivisions within the matrix).The result is a discontinuous eld of stochastic ten- sion enabling an abundance of unpredictable gures to appear and disappear. For all gures to come together and fall apart, to advance and retreat, to surface and vanish, the viewer has to jump from algorithm to algorithm, ideally falling from one con guration into the next in a form of perpetuum mobile. Establishing continu- ity between the murals and the decor of the windows was a must. I resolved to substitute algorithmic halftone rectangles in pixels with ones using round points.This had been suggested to me as
a way of modulating the light received and/or re ected by each window. A microcosm would engender a macrocosm, going from white opacity to a necessarily darker transparency. While anything white would re ect all the light received, both inside and outside the rooms, anything translucent would reveal the variety of rela- tive shades of dark, especially those of subtle colours.
I made ten original compositions usable in two heights and avail- able in 65 modules combining 188 shapes in differing horizontal and vertical sequences.The arrangement of the shapes compen- sated for the loss of the initial algorithmic continuities, with each window or set of windows having its own rhythm distinct to that of its neighbours. Each window was de ned by three letters.The rst designated one of the ten compositions: A, B, C, D, E, F, G, h, I, J.The following letter indicated the position: R = recto (front),
V = verso (the horizontal transposition of R), and h = the vertical
transposition of R.The last letter (G or D) signi ed whether the cut was to be on the left or the right. For example, AhD referred to composition A in its vertical transposition, with the cut measured from right to left, and hRG referred to a front view of composition h, with the cut measured from left to right.These three letters were complemented by a three or four digit number detailing the size of the windowpane, including any hidden edges: for example, JRG 950 or hRD 1204. Pixel size was set at 1 mm. I would have pre- ferred 0.5 mm, which would have produced a better sanding effect, but this was not possible when using screen-printing. however, this was compensated by the fact that the non-repetitive random movements of the algorithmic weft are clearly visible up close. It was impossible to experiment on a full life-size pane of glass. But how can you judge whether something you have not seen in real life will turn out properly?You have to have trust. My decisions were not the result of ashes of inspiration, but instead of a wealth of experience.
My art targets individuals. Practising it frees me from mulling over things again and again, and I do everything to optimize the results of my instinctive acts. Designed without emotion, without any spe- ci c intention in mind, open to all in uences, my work can be seen as a ‘space of appearance’. It shows how the re ex mechanisms function, the mechanisms conditioning our perception of the world. It invites us to see how language is articulated, and in doing so also invites us to articulate our thoughts. Rest assured, the AGC Building users will not be disturbed by this decor and the discreet setting it provides. Instead of being distracted, AGC employees will be inspired. And should anyone gain a few moments of sen- sory satisfaction, this will be of no harm, instead helping them to recharge their batteries.The whole composition pays homage to light, a light shared by all of us, re ecting our individuality and diversity.
Georges meurant
Fig. 1 | [01-494] | Résidence Palace (european Council) | Brussels | 2005-2015
Depiction of the interior decoration of the meeting room on the 5th oor (2012-2013). Carpet, frieze and ceiling by Georges meurant
Fig. 2 | [01-574-1a] | Lujiazhi Cultural Creativity Garden Zhoushan | P1: entrance | Zhoushan | China | 2010-work in progress
Drawing on the facade covering by Georges meurant