The exposition continues with the expansion of the geometrical constructions to include cell-shaped forms distributed at random sometimes separate, many times severally overlapping.
Here an operation to cover a sheet with cell-shaped forms distributed at random is undertaken. This combines randomness with necessity - the necessity being in the regular elliptical shapes of the cells, the randomness in their distribution. Further, it explores the intersections of these cells with a rectilinear grid laid across the paper, examining their interference. (See 1G) Hayter's etching 'RIPPLE' employs this method to convey the impression of life seen through a microscope.
'A completely irrational operation to cover a sheet with cell-shaped forms at random,---/'

 

Fig.93. Cells distributed randomly in a contained field, because of the lack of perspective among them, tend to co´ncide transparently or to oscillate in and out. Such fluctuations engulf and fascinate the eye.

'---/modified if desired by an underlying squared paper as a rectangular grid,---/'

 

Fig.94. This rectangular grid stabilizes the fluctuating movement of the cells making them appear flatly two-dimensional.

'---/exploiting the forms of interference in the random and the systematic grid.---/'

 

Fig.95. Upon these rectangular grids, over the moving cells, a pattern of interference is drawn by darkening alternate sections in a natural direction from lower left to upper right.
This has none of the oscillating movement but creates an ascending rigidity toward the upper right corner.

'---/As with previous experiments a track can be followed by filling adjoining shapes according to a systematic rule as diagonal or again random.'

 

Fig.96. The interference pattern extracted from its context exibits a torsion and an organic development as in a plant.

 

.XIV. RIPPLE, S.W. Hayter
1970, 470x594, 'The Renaissance of Gravure, the Art of S.W. Hayter", P.M.S. Hacker, Clarendon Press Oxford, 1988, Ashmolean Museum, Oxford, 11 Oct-27 Nov 1988, fig.76
Although Hayter's etching 'Ripple' is "about" sunlight reflected through and on to the surface of a pool, it is actually much more general: this is the first step in the study of interference which will be seen later under 'Interference, Vibration, Moires', but in this case interacting with a definite rule. As such it might convey the impression of cell life.

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