Rectangles and Squares, No. 2

This drawing continues early explorations in abstract minimalism, applying traditional principles of material and technique, value and composition to simple graphic elements rather than observed modeled forms. A tonal inversion of its predecessor, this drawing uses the same 3×4 grid, white border and figure-ground relationships. However, the distribution of values is reimagined: the black matte charcoal is moved from foreground to background, creating a deep spatial field. The interior squares have been recolored as well — a pale graphite square above and a medium-gray charcoal square below.

The sheet retains a strong white border and sharply defined transitions between each shape, reinforcing precision and restraint. Within this structure, the two central squares act as counterweighted members, focusing the eye within the surrounding dark field. The changes in distribution of values create a more dramatic dynamic tension — the eye oscillates between reading the four values of light against dark and dark against light, revealing the relativity of perception.

By keeping the composition identical to Rectangles and Squares, No. 1, the work isolates tonal reconfiguration as the key variable, showing how distribution of value alone affects figure-ground relationships and the overall psychological and emotional tone of the work.