Maryan Besaga

Genesis III develops the theme of creation as a process of increasing complexity — from the simplest sign to a multilayered painterly structure. The composition is arranged vertically, as a sequence of states in which each successive level seems to emerge from the one preceding it.

The upper section is dominated by simple geometric elements: vertical stripes, rectangles, cross-shaped structures, and coloured dots. They evoke a primal code or coordinate system, in which form remains at its simplest, while space is organised through the juxtaposition of colour, line, and plane.

Gradually, this order begins to change. Luminous spheres, fine lines, and traces of movement appear within orange and green fields. The geometric structure gives way to a freer environment — the static sign transforms into an impulse, and the impulse begins to generate movement.

In the subsequent fragments, the process becomes increasingly complex. Large translucent fields of colour overlap, white elements break apart into numerous fragments, and a sense of flow, collision, and multiplication of forms emerges. Space is no longer governed by a single geometric system — it begins to function as a living environment capable of self-organisation.

In the lower section, the initial signs almost completely dissolve into the painting. Blue, green, red, white, and violet masses interact within a complex system of gestures, layers, and textures. What initially existed as an individual point, line, or plane enters a state in which it is no longer possible to separate one element from another.

Genesis III establishes a kind of visual evolution: sign → impulse → movement → interaction → complex form. Creation emerges as a process in which simple structures, through their interactions, gradually generate complexity — ultimately forming a new environment capable of further development.