The visualization of the forces at work—forces that constitute the basic conditions and ex-
periences that also shape our lives—is intrinsic to these works. But it goes without saying that
they are not intended as didactic demonstrations of physical conditions or as teaching models.
Rather, they are aesthetic events. It is true, as Imdahl points out, that representation coincides
with reality in these works, but as far as the representation is concerned, its forms and aesthetic
qualities are not insignificant. The choice of the particular constellation under which the physical
forces are set free is crucial, for the very idea is nothing less than determining the moment of ma-
ximum fertility from among the many possibilities, the moment where tension and its reconcilia-
tion, which also constitute a formal “process,” become manifest in balance as a formal “event.”
And, by reciprocally supporting one another in the form of an open, three-dimensional construc-
tion, they articulate the fact that balance and equilibrium are not fundamentally identical but
rather two distinct categories that act together. The simpler the components are, the more
astonishing and exciting the relationship is in which they stand to one another. They convey
effortless beauty, without coquetry, without any guise or pretence. Their behavior is essentially
a physical phenomenon, but the form they take is an aesthetic decision.