There is a guiding compositional principle evident in the artists’ works; practitioners associated with Minimalism often relied on mathematical means such as a grid or serial repetition. Although the initial idea behind this process was to annul any sense of illusion, this action is intertwined with the notion of restraint. For example, Baroff’s Tide Drawings have an indirect, contemplative and conceptual way of looking at arduous, scientific information. Whilst enabling us to visualize mathematical data; the numbers, which essentially mean nothing to the untrained eye, are transformed into intricate compositions, which allow us to envision a natural phenomenon.
Similarly, Stefana McClure’s Films on Paper series shows a succession of superimposed subtitles, inter-titles or closed captions depicting entire movies. These are concentrated and concealed in two bands at the bottom of an otherwise uninterrupted monochromatic field. Each subtitle is layered on top of the other, leaving evidence of disrupted information, abstract yet encompassing.
Gerritz’s work holds temporal qualities through its effects on the spectator. The layers of pencil or paintstick applied to anodized aluminum or MDF panel’s forms a metallic sheen, resulting in the viewers’ awareness of their reflection. At first glance Gerritz’s works appear flawless but upon further inspection it is clear that his precise craftsmanship allows this initial disillusion due to the extremely refined nature of his work but it is recognizable that these pieces are after all, created by hand.