Focus, in the meditative state, centred on a point, a turning action begins. This is a fundamental movement, a primary animation, rotation either to the right or left.

Focus, energy is directed, concentrated at a point, like the sun's rays through a lens focused on a point, creates fire. Turning, rotation as the first and primary animation. Spinning, rotation development creates stability. A spinning top stands up, as does a gyroscope which balances. Primal verse, the initial turning creates the axis, around which is the action of turning. Chakras, literally wheels in Sanskrit, are a turning phenomenon of light, coloured according to their position in the body's energy points. The spectral sequence from red at the base of the spine to purple and white at the top of the head and beyond. Universe, literally the initial turning. Uni, the first, verse (versus) to turn.

"Ingenious but not correct" is a phrase I remember as teachers seemed to acknowledge that although I failed with the correct answer, that there was a quality that showed that perhaps not all was in vain.

To me I was almost able to see this as a compliment. There was something exciting about ingenuity and its close counterpart intuition.

The idea of something being correct in some way implies a singular answer or conclusion.

Ingenuity seems to open up the possibility of a number of answers, The creative mind is opening up various solutions.

Much of our educational system, at least as I experienced it, is geared towards achieving the correct answers to many questions in diverse academic subjects.

Our brain in these circumstances is almost trained towards achieving this correctness as it's norm.

There seem to be similarities between the brain and the computer. The brain is undoubtedly more spectacular in it's nature and function, but both can be 'programmed'.

Ingenuity, intuition and instinct are three qualities that will be prevalent in an untrained brain, There are undoubted learning and developments that enhance these, but they seem to be fundamental qualities, natural abilities that can be applied in multiple ways.

The way everything is.

The way education makes us think.

How the original plan was set in place.

Where from and how did it come.

All we can do to describe this is by accepting that it "Just is".

It has to be seen in a different way, away from mathematics and conventional language.

Which was the prime movement, was it mathematics, the world of equations, or just pure evolution, if that is the word?

It just materialised, not out of nothing, but if out of something, what was that?

Beyond any of this it "just is".

The concept of this wonderverse is so ultimate, that everything is in it's place, mathematics, harmony of all kinds relate in a way that is beyond calculation,

it "Just is".

Primal forms display mathematics and geometry, but were conceived outside of a mathematical brain.

All of nature's marvels perhaps were conceived similarly.

Mathematics can be our only way of understanding these universal marvels.

Just because so much can be explained through these means, does not necessarily mean that such a "brain" created them.

It is our way of explaining it all, but there is a good chance that an intuitive action is responsible, one so in tune with the processes involved that it is

"Just able" to carry out the creation.

In answer to the question, what is it, it "Just is what it is".

It is an expression of a phenomena, what results from applying principles of an origin within the nature of what is present in the universe.

Part of the working elements that are responsible for the function and building of all the actions that carry out everything that is required for a successful working universe and natural world.

When drawn out and made the completed forms with two variations in spiral progression are shown in the photos.

The primal form series are static representations of various combinations and interactions of movements. It is envisaged that these movements would be moving simultaneously. Such animation could have parallels with natural phenomena manifesting in various forms within the universe.

The making process of the primal form itself gives an indication of the presence and nature of these movements. The honing and shaping process that is required to complete the form is a constant defining movement that is repeated up to completion. Whether this is a circular, orbital, spiral or wave movement, the path is extensively and progressively worked until all the paths of the form complete.

The element of time, the passage of time/movement that is almost meditational, contributes to this completion as all the elements come together. There is an instinctive feeling that in some way these forms are a representation of time. The orbits of the planets define periods of time. Spirals are a result of growth in time, development through time. Waves are time motion cycles.

These primal forms maybe can be seen as an encapsulation of time. Rolling them leaving the resulting track, brings to mind the expression "Rolling out Time". The rolled graphic mark is a transference of the information on the three dimensional spherical form onto a two dimensional format.

The evolution of the primal forms are based around the geometry of the regular solids. One of these solids, the icosahedron has a particular significance to the mechanics of time as represented for us in our system. This solid has twelve main centres, around each of these points lies a pentagon, thus five is an integral part of its makeup.

Our time system is based around the twelve hours each of the day and night. Each hour is divided into twelve units of five minutes adding up to the sixty minutes in the hour. Each minute is again divided into sixty seconds. Twelve fives equal sixty is fundamental to this.

One particular primal form series based on the icosahedron focused on five spirals emanating from each of the twelve points, producing a spiral interaction of sixty spirals. The series comprises a progression of spiral development adding additional spiral rotations culminating in a piece with twelve rotations. Out of interest and curiosity, I was prompted to count the intersections on a single spiral path, one of the fore mentioned sixty interacting spiral paths. Interestingly there happened to be seventy three intersection points. Five spirals began at each point 5 x 73 = 365. So this sphere had a particular affinity to the unit of the year. It was additionally interesting to note that it took twelve rotations to achieve this, showing a numerical consistency. This primal form may have calender credentials in the way it marks units of time.

This seems more than a mere coincidence and gives an interesting relationship between the numbers associated with time and the geometry of the universe. It also seems to point to a correlation between the essential geometry of a three dimensional solid and the workings of time as employed in our planetary system. This opens up some interesting ideas and propositions. Where did the concept of twelve, five and sixty in relation to our time clock come from? Because of this clear connection to form within the cosmos, regular solids would likely be the same throughout the universe, does this perhaps suggest that our earth and solar system is special. Are we unique, rather than just being a speck in the universe among billions of other similar systems. This lends a fresh interest in the idea that these primal forms in some way encapsulate time.

What is a primal form, why the term primal form? Prime, primal suggests importance and essentiality. The most essential form is perhaps the sphere. All the regular solids, the forms that are the building elements of the physical world relate back to the sphere. They can be drawn on a sphere, the points that mark their identity can be plotted on a sphere. In our physical world the sphere can be seen as the prime primal form, the one that precedes all others. Seen in terms of the dimensions, a dot is a first dimensional point. This dot is essentially a sphere in the making. It has roundness, almost by definition, but lacks the three dimensionality that turns it or a circle into a sphere. The circle, lacking the three dimensional aspect is therefore two dimensional. The circle "spun" around in all directions assumes three dimensionality, it becomes the sphere. In this role as a marker that can define the essence of dimensionality in this way, it almost without question, fulfils the definition of prime quality, the form from which all evolves. The sphere has so many important manifestations, from the shape of the planets to the ultimate rolling form. A ball can roll in all directions, its spherical integrity/accuracy enabling its widespread use, in ball games, ball bearings etc. A two dimensional circular form, such as a tyre, in contrast can only roll in a single direction The sphere also has important physical properties, that for example enable an air filled bubble to be spherical. A sphere has an important efficiency quality as it encloses the maximum interior volume with the minimum surface area.

The Primal Form story begins with the sphere, taking the unmarked static one, unaffected by any outside stimulus or interference. It was then subjected to a simple action such as a twist, or something that breaks the static nature, giving it a pattern. A simple action could be any number of things, anything that disrupts creating a new identity. This is similar to the way that a mark and a drawing will give identity to a flat surface. Smooth mill pond water can be disturbed by an interference causing ripples.

Our earth has two poles, the first of my primal forms was a carved wooden sphere with two poles/centres. This simple fundamental beginning starts a journey of progression introducing new criteria in the form of spirals, orbits, waves, as well as curves. Prior to this perceived beginning of the primal form journey were a number of constructed spherical structures, the first of which displayed a pattern of "finger print" type marks, deriving from a simple disruption of the smooth spherical surface. Other examples in this pre stage explored spherical geometry and introduced the idea of wave and curvature patterning.

Primal forms have developed as a response to many years of continued exploration into natural form and the way nature builds.

The term primal form refers to the simple, fundamental nature of these forms. They are based on the sphere which has an important association with the three dimensional world. A circle is to two dimensional as the sphere is to three dimensions. Three dimensional geometry is the geometry of the sphere. The curved surface of the sphere requires a different geometrical approach to that on a flat plane.

In constructing the form, the first stage is the making of a smooth blank sphere, this then is ready to be marked out. The sphere is divided up so as to identify the solid to be represented. One example is the cube which comprises six squares, as drawn on the sphere twelve interconnecting lines of equal length are marked over the sphere's surface. The other solids similarly have their relevant number of equal lines plotted.

Further lines are drawn through the previously placed points. Once all the relevant points are positioned, spirals orbits and curves are drawn through and around them, as appropriate to the design. This completes the two dimensional aspect. The integrity of the design becomes apparent in an intuitive process as the points are linked in this way. The aim is for the elements of the design, the spirals, orbits and curves, to freely fit the pattern markers in a fluid unforced way.

In an almost uncanny way, maybe due to the play of sacred geometry and the integrity of the design, the result usually has an inevitability. The spirals, orbits and curves usually fit the design pattern with an accuracy that is almost beyond expectation. The feeling being that the design is there just requiring to be uncovered, discovered rather than created or invented. The integrity and logic of the linked points and the drawing that evolves, ensures that the result fulfils expectations. There is an intuitive feeling of completion, perhaps this is sacred geometry in action, ensuring a harmonic outcome.

Celestial orbs, heavenly bodies, both refer to spherical forms and evoke comparisons to celestial and planetary phenomena. The interactive qualities of the orbits, spirals and curves in this geometrical context produce intersections and alignments. These remind of the occurrences that result from planetary movement, particularly the eclipses that involve the interaction of the sun and moon. Ancient monuments with their alignments are examples of mankind's historical understanding and interest in this.

After the drawing phase has established the fundamental design on the spherical surface, the drawn lines are cut. This begins the transformation journey into three dimensions.This gradual process continues until all the flat areas have disappeared. The final honing process reveals subtle geometry and effectively 'tunes' the form into full three dimensional completion where all the subtle geometries are revealed. As this occurs tuning refers to the way all the harmonic elements combine, like a musical instrument in tune.

I remember as a child being given a book that outlined the significance of the natural proportion phenomenon. This was a child's art book that was interesting in the way it explored the relationship between art and nature.

The awareness that resulted has shaped and influenced my work by helping the realisation of the importance of this natural element to the creative process. It has also led to an understanding of how the various aspects of my work relate.

It is interesting to look back at earlier work and have a new perspective on its meaning and the motivation that contributed to its creation. With advancing maturity it becomes clearer what earlier work was about and the way in which it paved the way for what was to come.

The first step in the early development stage is one of observation, to absorb things that at the time are not necessarily appreciated, yet somehow they seem relevant. Even before this stage we may have experiences that enter consciousness, dwelling there to surface later.

Sacred Geometry is the term that helps us define nature's creation activity in terms of geometry. as well helping the appreciation of the resulting harmony. Growth and proportion of nature's architecture conforms to this. Through evaluation of its importance in nature we aim to incorporate these principles in our design. Examples are found extensively in art and architecture, particularly because of a connection to the divine, notably in cathedral and church design.

Proportions as in the golden section, an essential element of sacred geometry, produce aesthetic integrity and beauty with widely appreciated qualities that touch our senses in a profound way.

It is clear that harmony in its many expressions, from music to design, draw on the same underlying principles. In essence a structure seems to be understood and which can be traced to a mathematical foundation.

The 'Music of the Spheres' is a description of sacred geometry and sets out a clear connection between sound harmonics and geometry as in celestial movements.

Working with these principles, appreciation and deep satisfaction is produced. The underlying integrity being understood ensures true beauty as a result. It's almost as if these qualities are not present that it is perceived that something is deficient, so powerful is its influence.

We are educated by these beauty principles experienced all around us in nature as well as in art and design. This contributes to our well-being and happiness in a subliminal way. Without this as an essential part of everyday experience our lives would surely be poorer. These proportions are almost inescapable for us as they also are an integral part of our own body's skeletal design. Everywhere and in almost every aspect of our lives, in one form or another sacred geometry is present and part of our experience.

The natural world, the way that everything in the universe works, the grand design of all that constitutes this, exemplifies the perfection of a designed system. This construction from elements that build everything necessary for this creation to exist, develop and sustain itself, is the ultimate expression that it is possible to imagine. All our contributions will always be subject to the standards set by those of this natural world. Taking this into account human endeavour has always looked at this natural world, seeking inspiration and solutions for all our requirements. Studying the phenomena gives insight into how there is an interaction between the various distinct areas found in this natural world. There is a fundamental linking factor that runs through this creation. It has been found that numbers and patterns, the essence of geometry is able to aid the appreciation and understanding of this. An universal law of harmony seems to operate across distinct areas and can apply equally to plant growth as well as governing musical harmony. This is an example of the functioning that determines the nature of the grand creative design.