SIAß

The composition “Siaß” is based on the polyrhythms and polyareas of Fake Sugar (2017), extended by asymmetric subareas (sA notation) with a principle of opposing movement: subarea density decreases as the area becomes smaller (40 → 30 → 20 → 15 → 12) — the smallest area receives the coarsest internal subdivision. The smaller the area, the less physical space for internal differentiation. Subarea density adapts to the actual wall surface.

Five element areas (a–e) divide the right-angled trapezoidal surface according to the following proportions:

a A1/4 sA1/40 H8 V5 [1,5,2,3,8] ∞
b A1/9 sA1/30 H6 V5 [5,1,5,2,5,3] ∞
c A1/16 sA1/20 H5 V4 [1,2,3,4,5,6] ∞
d A1/25 sA1/15 H5 V3 [2,2,3,1] ∞
e A1/36 sA1/12 H6 V2 [1,1,1,1,1] | [2,2,2,2,2] | [3,3,3,3,3] | [5,5,5,5,5] | [8,8,8,8,8] ∞

Element a is the largest area (A 1/4, sA 1/40, H8 V5) with the motif [1,5,2,3,8] — a rhythm with the smallest (1) and largest (8) unit and the intermediate values in between.

Element b (A 1/9, sA 1/30, H6 V5) has the motif [5,1,5,2,5,3] — a two-layered rhythm: constant recurrence (5) and, in between, (1, 2, 3) in ascending order simultaneously.

Element c (A 1/16, sA 1/20, H5 V4) has the motif [1,2,3,4,5,6] — a continuously ascending sequence with the values 1 to 6, the only strictly linear progressive sequence of the composition, in the middle range of subdivision.

Element d (A 1/25, sA 1/15, H5 V3) has the motif [2,2,3,1] — a four-beat with an equilibrium of difference: the doubling of 2 as opening, followed by a 3 and a closing 1.

Element e is in the smallest area (A 1/36, sA 1/12, H6 V2) and the only one with open choice of motif: for each occurrence, one of the five isometric motifs can be chosen — [1,1,1,1,1], [2,2,2,2,2], [3,3,3,3,3], [5,5,5,5,5] or [8,8,8,8,8].

The composition reveals itself solely through movement and cannot be experienced as a whole from a static position. The rhythm of the colours, both in the act of painting and in seeing, is activated only through movement — owing to the narrowness of the passageway and the oblique viewing angles — as a constructive principle of reception.

_{Siaß
Oleksiy Koval, 2026
Passageway S6 Werkstätten – Architektur, Kunst und Kultur, Munich
Video: rhythmsection.de}

This composition has been written using THE BEAUTIFUL FORMULA LANGUAGE.

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Oleksiy Koval and THE BEAUTIFUL FORMULA COLLECTIVE

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