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Between 1998 and 2002, and again between 2004 and early 2006, I worked my way through the steps from Symbolist landscape to advanced Neo-Plasticism which Mondrian took between 1900 and 1920. I learned a great deal, I think, from these travels from felt to known form; but I was never inclined to enter Mondrian's aesthetic world -- nor certainly his expressive-spiritual one. Fortunately, of course, neither of these is essential to the basic grammar of Mondrian's formal development. So, tinges of Klee's handling, Metzinger's palette, Gris's tilt, Hoffmann's push-pull, or just a general sense of what one might call edge-neurosis, appear on occasion, as does the physical impress of my overriding chronometric theme:
