_{'308' - 24th February 2001/6}

_{'59' - 16th April 2001/5}

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Much like his autogenetic pictures, which model the movement of electric particles on a toroidal surface, the drawings of impal QIPITZ also capture movement, this time of lines across a page. Though lines might at first seem considerably more banal than electrons and toroids, the end product is no less worthy of reflection.

The elegant, fluent dynamism of these lines is paused to provide us with a glimpse of the forms which have just emerged, a picosecond before they are swept away or reconfigured by a fresh wave of transformation. The creatures are most visible in 59, the most evolutionarily complex of the series, as these spindly inhabitants of impal QIPITZ’s design space appear to be in the process of evolving eyes.

Though inscribed as distinct individuals within their microcosms, these creatures are penetrated by interdependency: they are pierced by the same promiscuous abstract lines, which also determine their colour segmentation and layers of relationship.

As with the toroid compositions, the drawings seem to allow forms and colour relationships to emerge to a large extent autonomously. Lines following their own optimal paths; colours generating and mirroring their neighbours..

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Although the modesty of the artist in question would recoil at such comparisions, the drawings of impal QIPITZ bring to mind the works of Kandinsky and Klee...

_{Composition VIII 1923} (140 x 201 cm)

"Kandinsky, himself an accomplished musician, once said Color is the keyboard, the eyes are the harmonies, the soul is the piano with many strings. The artist is the hand that plays, touching one key or another, to cause vibrations in the soul. The concept that color and musical harmony are linked has a long history, intriguing scientists such as Sir Isaac Newton. Kandinsky used color in a highly theoretical way associating tone with timbre (the sound's character), hue with pitch, and saturation with the volume of sound. He even claimed that when he saw color he heard music."

_{Twittering Machine, 1922} (63.8 x 48.1 cm)

"Klee often incorporated letters and numerals into his paintings... These, part of Klee's complex language of symbols and signs, are drawn from the unconscious and used to obtain a poetic amalgam of abstraction and reality. He wrote that "Art does not reproduce the visible, it makes visible," and he pursued this goal in a wide range of media using an amazingly inventive battery of techniques. Line and color predominate with Klee, but he also produced series of works that explore mosaic and other effects."