When a Feng Shui nine chamber game is plotted it turns from a two dimensional map or grid to a multidimensional plot of a moment in space and time. It becomes almost formless and complexity builds. It’s like the grid is warped by the mathematics that underly the game and it can become anything.

It is a sample of the world, small yet that sample contains the universe. It is forever small and forever big yet right there in the grid. That is the core interconnection but also rather than about intelligence it is about perception. Seeing through the two dimensions into three dimensions. In a sense also seeing a fourth dimension, everything.

Which brings me back to perception in general. There are times when I can’t see graffiti. Graffiti artists play with hidden elements. It’s a game of looking. I don’t see the hidden face and then someone points it out to me. Then naturally I see it. What was the difference of both perceptions? Seeing the hidden face and not seeing it? I saw something else that was also there.

That something else was the structure of forms. The face was meant to surprise the viewer and reward them for looking. They found the Easter egg. What if there was nothing there to start with? What if you had to imagine there was something there? When all you are left with is your own authorship. When you actually create something with your perception. The old death of the author but also the death of being unimaginative.

That’s why sometimes I see nothing, then sometimes see everything or even just a part. We can’t always be expected to be creative or use our imagination. Some people are terrible at being imaginative. It probably explains the generic nature of a lot of art. The artist wants to draw in some attention to the point of art becoming a basic grid. Art becomes about appropriating other art and that is rife, the grid then is just used to map the appropriation. Forget about the potential depth of the grid. Surface depth is the goal.