The sizes of the circle radii are concretely derived from the stretcher frame format, especially from the proportion of height and width. Example: if the stretcher measures 42 x 29.7 cm, then the sizes of the four used radii are: 21 cm, 14.85 cm, 10.5 cm and 7.43 cm.
Circles in miniature, namely dots, usually also form the top level of this multi-layered process. Related to brightness, hue, saturation and gloss in varying degrees of contrast with what lies below, all the intersections of the linear drawing are marked. This slows down the dynamics of the arc-shaped loop, and binds it visually to the painting. In part, depending on the point of view, this creates the illusion that the stippling represents a perforation of all the layers, possibly even of the canvas.
The high degree of aesthetic sensibility and post-conceptual clarity has recently been complemented by a "deepening“ of the loop principle, down to the lowest layers of the paint application. Shapes and color differentiations result from sculpture-inspired painting processes, in which circle-guided brushes are used to push aside monochrome-applied layers of fresh paint, in order to expose what lies beneath.
This kind of sgraffito technique demonstrates a new openness to all imaginable kind of forms in which the loop idea might manifest itself. Its conceptual precision can also take on very imprecise-seeming forms, depending on the tool chosen and the consistency of color.
Anyway, it is not a matter of mathematical arrogance, but rather a matter of always finite attempts to aesthetically and ritually conjure up the eternal same.