Frances to Armando and William on artistic creativity... There is it seems a tactic or technic used by artists in making a pictorial depiction, be the representational picture a "pure" formal abstraction or a "real" referential concretization, and either in progress or in finality. The tack entails (1) rotating the work say upside down or (2) reflecting the work say in a mirror or (3) repeating the work in duplication. This is presumably done in the main by the artist to correct errors seen in the work. The sensed weight of colors in shapes seen in the work that seem to violate some aspect of gravity may then stimulate changes to be made. The process of rotation or reflection or repetition that shows a possible violation of gravity in the work would seem to evoke some irritating frustration in the artist. If some betterment by chance is accidentally revealed by these tactics and technics, then the original intent of the artist would likely be altered, regardless of their resistance to change or insistence on choice. The sense of even only implied gravity in works likely impacts on all artists and designers and crafters. My motive and objective here is to try and see if these things do impact especially on the architect, in the plan or process or product of their project, because it is my tentative stand that making preparatory pictural drafts and contributory sculptural models is necessary to making consummatory tectural constructs. The architectural finality would be a combinatory visual art of some kind resulting from this tern or trident.
