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The Spirit of Phi Painting

Robert Pigott

Painting, Acrylic on Canvas

Size: 48 W x 48 H x 1.6 D in

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About The Artwork

The Spirit of Phi Do trees, flowers and plants have a god? It’s an interesting question and one which I have been attempting to answer over a number of years. Why? Because, in simple terms, their ‘god’ is probably easier to deduce and identify and since, by extension, it is essentially the same ‘god’ as ours, it is a question worth pursuing. Of course it’s all a matter of definition. In my opinion the concept of god answers the question – what determines what exists? So I suggest therefore that ‘god’ is a natural ‘force’ which determines the physical world as an expression of the abstract – and that that expression is an equation. In other words, ‘god’ is an equation, an equation which must be constantly resolved in order to maintain the balance between the meta-physical and the physical worlds and maintain existence. In this ‘abstract’ painting of a sunflower where the dots are arranged in a spiral sequence set by the number phi,1.618…, the fuzziness and unfocused content of the image suggests a kind of spiritual presence. The biology of the sunflower therefore follows the guiding force of the mathematics in order to be. Consequently the sunflower has two ‘gods’. Firstly, as Heliotrope (from the Greek meaning ‘sun turning’), it worships the burning circle in the sky, a sphere defined by the number pi, 3.141…. Secondly, by phyllotaxis, it must follow a construction ordered by the number phi. Without a questioning consciousness, the sunflower just accepts these ‘gods’ as given and so lives a happy and healthy life (given a good supply of sun and rain). If we are to seek ‘purpose’ in our own lives, perhaps then, we should look no further than that of the sunflower and endeavour to synchronise with nature’s mathematics to maintain our own mental health and well-being. Unfortunately as children of homo sapiens, evolution has given us intelligence and consciousness and it is this consciousness which ‘pollutes’ our minds and obstructs our endeavours. So in the same way we must abandon the baggage of childhood to be our true selves in life, we must rid ourselves of this pollution to be completely at one with our spiritual selves. It is only then, through contemplation and meditation we can achieve true engagement, enlightenment and a kind of spiritual nirvana. But it is not mystical, it is just synchronisation with the guiding force of mathematics.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:48 W x 48 H x 1.6 D in

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Robert Pigott was born in the UK in 1948, in Brigg, Lincolnshire and educated at Brigg Grammar. Following the Art Foundation course at Leicester College of Art he moved to Stockport in Greater Manchester to study Art and Design for Advertising. In 1971 he won a scholarship with the advertising agency, J.Walter Thompson in London, and remained there as Art Director for several years. During this time, he studied painting with the artist Rudolf Ray in London and in Mexico. Ray, whose work had been praised by fellow Austrian, Oskar Kokoschka, was an important influence. (Ray had previously worked with Marcel Duchamp in Paris and was to accompany him to New York in 1942, where Duchamp introduced Ray to Peggy Guggenheim). Despite the early encouragement from Ray it was only very much later that the process of art was taken more seriously. He is currently dividing his time between painting and researching and writing a new book entitled, The Nazareth Parallel, a radical work which blurs the boundaries between Science and Religion. Many of his paintings are used in the book to illustrate his unique ideas and concepts. The painting Ananke is used on the cover design. For more information go to the artist's website at robertpigott.com About The Art Painting is a search tool, a telescope, a probe, a scientific instrument directed inwards to view the soul of the individual, the soul of Man and the metaphysical world. The canvas, the painting is a direct expression of the probing, the image captured by the telescope's long exposure to the space within and the mystery of existence. My own need for certainty in the world became the catalyst for a new period of creativity. I considered that through the deliberate use of painting as a tool, its probing potential could be directed to answer the more funadamental questions about ourselves and our world, the notion that painting can be included as a way of enquiry about our world just as, in the same way, Science makes sense of the nature of things around us. In the time of the Renaissance Art and Science were not separated as they are today but were considered as one discipline. In 1954 Herbert Read considered the role of the artist was to retire within oneself, to reach down into the well of consciousness, in an attempt to reach sources of inspiration that do not belong to our time and civilisation, but are archetypal and universal.

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