The following is an excerpt from the theory book XX - pg.77-78

“At night, I turned to the painting of Miss Viola. I was thinking about the way I expressed myself through geometry. It was a passionate thing for me, yet intellectual, a roundabout way to create with heart and feeling.

Geometry did, however, make me think deeply about her. As I explored the options available within the scaffolding of her room, an image of Miss Viola was slowly crystallizing in my mind. I wanted her to curve a certain way, but striking that perfect arc was something my symmetry wouldn’t permit.

I was trying to make her click into a structure, and she was just not having it. These were the battles that taught me who she is in body and in mind. She didn’t do well in structure, yet the structure had grown from the center point of her own consciousness.

It must be said that the structure of her room was one I chose because I thought it provided the right amount of flexibility and rigidity. It wasn’t long before I started to see myself as the sort of architect of her reality and little more—it might not be the right structure, but it was effective nonetheless because it showed me her deep dispositions and personality.

It was this longing to realize Miss Viola’s true form and its unattainability within the confines of a structure I imposed on her, that would eventually bring her to life in my mind…

But for her to take shape and materialize, I would need to break free of the structure I had established, and which I had become so dependent upon.

At this point, I decided to paint instead of wasting time on mind-boggling mathematics. See, beauty created through geometry is powerful but only if it is used in a way that simplifies a complex thing. Nature does this masterfully, and this is why we study her. It is relatively easy to extract a geometric structure from anything made by Nature.

But creating in the way of Nature is challenging. The geometry can quickly become too complex and lose its cohesion.

I thought back to something I learned from Michelangelo. I needed to have faith in the idea that if we make something so beautiful to the eye, it will carry with it a natural geometry—an organic geometry. One that gets strength from the centering of the mind on what it desires.

Slowly and carefully, I began delineating her back silhouette, telling myself, “If beauty is the result of exceptional geometry, then geometry would be the outcome of exceptional beauty.” I took peace in that and released my chains. The geometry I had struggled with was still with me at heart, but without enforcing its rule, I easily found the curves that would bring her to life.

Like a parent to a child, I had to set her free. I had to let her go... I dropped my paintbrush. She exists somewhere between two geometric possibilities. There was no reason to make her materialize any further. The painting was done and perfect, even with all its flaws because I had learned the lesson that Nature was trying to teach me all along.

I might be the architect of the house, but Viola and the others were spirits of Nature beyond my control.

That night I began to explore new modes of thought as a door had opened to a new realm. The geometry of the mind.”

Thomas Hoppe