ARTIST’S NOTE | 14
BYR Organic Schemata Relational Visual Grammar
2020-2025
0. Relational Ground
The ontological principle that activates the entire Organic Schemata
The structure of Organic Schemata arises from the relational operations through which the three selected BYR Prime Elements—Blue, Yellow, and Red—continuously adjust, respond to, and transform one another. OS is not a mere collection of discrete forms placed side by side, but the entire process in which their interactions generate visual and structural events.
In this context, relation does not denote simple connection. It encompasses the way sensation reads an object, the principles through which perception organizes the world, and the processes by which a subject perceives and constructs meaning within that world. Relation, therefore, refers not to a mechanical link between elements but to the continual adjustments, shifts, and transitions that unfold across sensation, perception, and meaning formation.
Within Organic Schemata, structure is not an outline that fixes the boundary of a form. It is the relational movement through which elements subtly recalibrate direction, density, pressure, and position to produce new configurations. OS investigates how such relational variations consolidate into a scene, and how that scene, in turn, opens toward further structural divergence.
I. Relational Calibration
(Balance & Harmony / Unity + Integration)
1. Balance & Harmony
Balance and harmony arise as the elements within a scene fine-tune one another’s forces, stabilizing the overall flow. Balance is shaped by the modulation of weight and position, while harmony emerges from refining intervals and pacing so that differing properties do not collide. These two concepts are not separate; they are dual aspects of relational attunement, forming the foundation that allows the entire structure to move as a single, coherent breath.
2. Unity (+ Integration)
Unity in aesthetics signifies the state of convergence, or cohesion, where various elements are consistently regulated and brought together into a single visual scene. Integration is the relational operation among elements—the process—that makes this convergence possible. Line, surface, color, and density meticulously adjust their position and direction relative to one another, ensuring that each element coexists without isolation.
Through this relational process of Integration, a single individual element condenses, fully embodying, and manifesting the principle and nature of the entire structure. Thus, the individual element (the part) acquires the qualification to be the whole, and the completed Whole (Unity) holds no separate, fixed substance outside of the dynamic relational manifestation of these individual elements.
While Unity is the state where the structure coalesces as a single breath, and Integration is the process of that organic relationship, these two concepts constitute the fundamental principle of the OS structure: 'the individual element is the whole, and the whole is continuously manifested through the individual elements.'
II. Relational Difference & Variation
(Contrast / Variety + Transition)
3. Contrast
Contrast is not the act of merely emphasizing opposites but the relational interval that reveals the character of the scene. Differences in color, velocity, density, and direction sharpen one another and produce tensions and boundaries within the structural field. Contrast is not division but a generative method that clarifies the distinctiveness of each element.
4. Variety (Transition)
Variety is not a collection of differences but the emergence of new states as disparate elements transition into one another. Transition occurs when form, color, speed, or density crosses boundaries and injects movement and vitality throughout the structure. Variety expands the scope of relation by disrupting fixed rules and opening new pathways within the system.
III. Relational Formation & Emergence
(Pattern + Repetition / Rhythm + Recurrence / Proportion + Weight / Scale)
5. Pattern (+ Repetition)
Pattern is the process by which repetition generates its own rule. Repetition is not replication but the subtle alteration that accumulates to shape structural flow. Patterns extend beyond repeated shapes or colors; they are emergent orders produced by relational regularities.
6. Rhythm (+ Recurrence)
Rhythm is the structural vibration produced as repetition returns in cycles of recurrence. Intervals between lines and planes, changes in speed, and directional bends form organic waves in which regularity and unpredictability coexist. Rhythm is not mere repetition; it is the embodiment of relational flow.
7. Proportion (& Weight)
Proportion is not an absolute measure of size but a relational calibration shaped by how elements refer to one another. Weight is the perceptual pressure generated by these proportional relationships, determining the center and intensity of the composition. Proportion articulates how balance is negotiated within the relational field.
8. Scale
Scale determines the perceptual scope and intensity of the entire scene. The distribution of size, distance, and density forms a world that may appear expansive, compressed, light, or heavy. Unlike proportion, which compares parts, scale defines the experiential magnitude of the whole.
IV. Relational Energy & Force
(Emphasis + Tension + Compression / Movement + Direction / Spatiality)
9. Emphasis (Tension + Compression)
Emphasis is not the highlighting of an element but the emergence of a point where pressure concentrates within the scene. Tension arises when forces from differing directions intersect; compression forms when these forces condense into a localized intensity. Together, they generate a natural focal point.
10. Movement (Direction)
Movement is the directional flow created by lines and curvature. Any element may become a temporary axis or the origin of flow, and direction unfolds not as a single vector but as branching trajectories. Movement transforms the OS field from a static arrangement into a relational current.
11. Spatiality
Spatiality is not an empty background but a fluid field constructed through relational distance, intervals, and density. Elements push and pull against one another, producing depth, distance, and expansion. Space is the outcome of these interacting forces, revealing OS as a structure extended through relation rather than a flat composition.
12. 360° Rotatability
Relational openness enabled by shifts in perspective
A full 360-degree rotation is not a physical feature but a structural expression of a world where no concept remains fixed in a single conclusion. Relations continuously reorder themselves, and the same event reveals entirely different definitions, judgments, and interpretations depending on one’s vantage point. The white ground is an open perceptual base, and the elements placed upon it shift their role, force, and meaning as the viewer’s position moves. Rotation visualizes these fluctuations and reconfigurations through the most direct and analog means, allowing the scene to be reread from multiple angles and continually renewing relational structure. Relation never fixes itself to a single judgment or direction; rotational capacity renders this reordering an operative structural principle, making clear that the configuration may reorganize into new compositions at any moment.