I play here with the correspondences between natural patterns and artistic representations, to visually explore the probable biological origins of artistic diversity.
Each picture of mollusk is an ordered enlargement, a two-dimensional synthesis of what we perceive of these animals through vision, a tool that allows the observer to compare the patterns by juxtaposition.
I'd like to show samples of the chromatic variations of the marine molluscs and the pictorial motifs of the non-figurative arts, two fields extremely distant from one another. Yet we can observe striking visual similarities through the selection of some particularly expressive examples. Indeed, the production of these motifs, whether of natural or artistic origin, corresponds to communicative values, the comparison of which constitutes an iconography worthy of interest.
I have selected these biology and art domains for their apparent semantic separation, taking the side of confronting them. This could be useful for the explanation of the visual correspondence phenomenon. Moreover, these subjects have a reduced place in their usual context: Molluscs are a phylum embedded in the immense field of biodiversity, and non-figurative representations are a small point on the historical scale of artistic manifestations.
In this case study which voluntarily compares subjects reduced and distant from one another, we shall first observe the formal aspect of the motifs.
The iconic and semantic notions attached to the works will be ignored in favor of the purely plastic characteristics of the selected works. Similarly, the biological and ecological notions of molluscs will be set aside to focus on the visual aspects of the selected species.