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Syncromesh Cezannic Kennedy - Spring 1982

Acevedo: Another aspect to my own use of zoomorphic tessellation was in developing a looser calligraphic approach to the linear perimeters as well as using erratic color schemes in the painted versions - i.e. the underlying drawing would be periodic but the way they were colored was somewhat randomized. In the tessellation study for my painting called Synchromesh Cezannic Kennedy, there are permutations and anamorphs of a 3-fold rotational bird pattern. I always thought that it was unfortunate that the intricate crystalline effect of this 'neo-expressive tessellation meltdown' was never as crisp in the final painting. This effect is almost like administering a wave filter in Adobe Photoshop. If you look at the final canvas this pattern appears like an impressionist's version of its original tight-knit faceting.