“Nature is represented not in its appearance, but in its mode of operation”
In many ways, the work by contemporary painter Arielle Masson hinges on the fertile ground of intersection. Her multi-layered paintings investigate the collisions between geometry and nature; surface and substrate; phenomena and noumena. Yet for Masson, these relationships are characterized not by contrast, but by the connections they form.
With dual Mexican and French heritage, Masson was raised with an amalgamation of cultural identities that informed her perspective on humanity as a whole—namely the idea that there are certain impulses that exist independently of culture, society or geography. Finding commonality in humankind’s ubiquitous fascination with color, pattern and ornamentation, Masson’s work now uses those outlets to investigate deeper bonds that not only connect people across space and time, but that connect everything in existence.
As such, Masson’s work explores a cosmological model of the universe wherein all things are aligned by a shared multiplicity of form and frequency. Upon first glance, the highly intricate geometries in her work recall that of architectural structures and ornamentation—qualities attributed to the human impulse to impose order onto nature. However, all of her forms, shapes and patterns are based on a single geometric matrix known as the Vesica Piscis, which is comprised of two overlapping circles that create an almond-shape where they intersect. This matrix serves as a latticework on which she builds her many-layered works to create and endless variety of geometric motifs ranging from simple patterns to highly intricate angular forms. Referencing the cosmological tenet of Pure Vibration, Masson views each of her works as “tangible frequencies” which, despite their infinite variety, are nonetheless all linked by their origin within the Vesica Piscis.
Ultimately, Masson’s work reflects on the invisible, yet omnipresent, geometry that
is the very foundation of nature.