Aretha Campbell Fine Art

LIBER ABACI

Jane Hayes Greenwood

Roger Kelly

Liber Abaci

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LIBER ABACI | GEOMETRY IN NATURE

PV : THURSDAY 6TH OCTOBER | 6.30 - 9PM

COLDHARBOUR LONDON GALLERY | 26 -34 Southwell Rd, London | SE5 9PG

Exhibition Runs 7th OCT - 11 NOV 2011 | Open : Tues - Fri 11am - 6.30pm | Sat : 12 -4pm

Please join us this October  for Liber Abaci an exhibition of work by Lilah Fowler, Sabrina Rowan

Hamilton, Roger Kelly, Jane Hayes Greenwood, Dan Cartwright, Dan McDermot and Michael

McKinnon. Curated by Aretha Campbell this exhibition is inspired by the developments of Leonardo

Fibonacci’s revolutionary text Liber Abaci published in 1202 and its subsequent correlations to

geometry in nature.

“The Universe has its endless gamut of great and small, of near and far, of many and few…Men and trees,

birds and fishes, stars and star-systems, have their appropriate dimensions, and their more or less narrow

range of absolute magnitudes. The scale of human observation and experience lies within the narrow

bounds of inches, feet or miles, all measured in terms drawn from our own selves or our own doings.”(Sir

D’arcy Wentworth Thompson, On Growth and Form)

During the 13th century the Pisan mathematician Leonardo Fibonacci developed a sequence of

numbers derived from Arabic numerals, which were intended to represent the universal principles of

creation and growth. This almost mystical view of the universe’s underling structure was that geometry

could govern both the natural and human worlds. The Fibonacci progression, the mathematical

formula for growth patterns found in many forms of life, including leaves, snail shells, pine cones and

reptile skins. The pattern is identifiable as a sequence of numbers in which any given number is the

sum of the two numbers that precede it: 1, 1, 2, 3, 5, 8, etc., ad infinitum

Throughout the history of art artists including Leonardo Da Vinci, Graham Sutherland and Mario

Merz have incorporated the Fabonacci algorithm into their art through the golden section.Merz

discarded abstract expressionism’s subjectivity in favor of opening art to exterior space: a seed or a leaf

in the wind becomes a universe on his canvas. Many of his installations were accented with words or

numbers in neon.