Development III 1939

This tessellated woodcut by M.C. Escher shows a spiraling array of interlocking lizard figures. I'm thinking about the exacting process that must have been required. Imagine Escher bent over a block of wood, patiently carving away at the surface to reveal these lizards, row after row. It's a kind of dance between order and chaos; the eye is drawn into the vortex but then released by the figures marching outward to the edge. Look at the subtle shifts in color and tone. How do they create a sense of depth and movement? Escher had such a unique way of seeing the world, like he was turning space inside out. I see him in conversation with artists like Sol LeWitt, whose explorations of geometric forms push our understanding of space and perception, too. Artists are constantly borrowing, building, and responding to one another's ideas. Escher’s work embraces ambiguity, leaving room for us to bring our own perspectives and experiences to the table.