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" "In my prints I try to show that we live in a beautiful and orderly world and not in a chaos without norms, as we sometimes seem to. My subjects are also often playful. I cannot help mocking all our unwavering certainties. It is, for example, great fun deliberately to confuse two and three dimensions, the plane and space, or to poke fun at gravity. Are you sure that a floor cannot also be a ceiling? Are you absolutely certain that you go up when you walk up a staircase? Can you be definite that it is impossible to eat your cake and have it?
Maurits Cornelis Escher (17 June 1898 – 27 March 1972) was a Dutch graphic artist who made mathematically inspired woodcuts, lithographs, and mezzotints. His work features mathematical objects and operations including impossible objects, explorations of infinity, reflection, symmetry, perspective, truncated and stellated polyhedra, hyperbolic geometry, and tessellations.
Biography information from Wikiquote
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I was peculiarly moved by the angelic life growing on the ground. I have no idea what sorts of flowers grow there in profusion — I don’t know their names. But I was so moved that I sat down, trying to flatten as few grasses and plants as possible with my clumsy backside... This brought my head quite close to the silent, joyful, exuberant, celestial children of heaven. They are so humble, so quiet, and they do not mind if you observe them, if you think they are beautiful... Nor do they mind if you don’t look at all — they just stand there together all by themselves in the huge stretch of woods and grow and bloom just the same, peacefully, joyfully, and silently. I am absolutely sure that they know nothing of the swinish and filthy behaviour of people in their dirty stinking houses — they know only about heaven.
Now, I should like to say something else to you about the connection with music, primarily that of Bach, i.e. the Fugue or, put more simply, the canon.. .It has a great deal in common with my own motifs, which I make turn on various axes too. Nowadays I have such a powerful sense of relationship, of affinity, that when I am listening to Bach I frequently get inspired and feel an overwhelming instinct for his insistent rhythm, a cadence seeking something of the infinite. In the Fugue everything is based on a single motif, often consisting of just a few notes. In my work, too, everything revolves around a single closed contour..
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