CONTEXT · THE PRACTICE

Sacred geometry

Sacred geometry is the study of mathematical and geometric forms — circles, the golden ratio, the Fibonacci sequence, Metatron's Cube, the Flower of Life — as expressions of universal structure. These forms appear across ancient architecture, religious iconography, and natural systems. In contemporary art, sacred geometry becomes a language for exploring the relationship between mathematical order and spiritual or existential meaning.

Peter Yuill's geometric period ran from 2018 to 2023. Every composition in this period was built from hand-plotted circular forms — no compass, no digital tools. The geometric relationships were derived from Yuill's own formulas, developed over years of study in sacred geometry, fractal mathematics, Norse paganism, and Buddhist philosophy.

The work is simultaneously precise and absurdist: mathematically rigorous forms that explore the impossibility of reaching certainty through reason.

The Absurdity of Meaning (2018) was the opening exhibition of the geometric period, presented at Kong Art Space, Hong Kong. The title states the thesis: mathematical precision applied to questions that cannot be answered by mathematics.

Alignment (Gallery HZ, Hong Kong, 2020) developed the gold and copper leaf vocabulary. Works in this exhibition reduced compositional elements to their most fundamental geometric relationships.

Equinox of the Gods (Jonathan LeVine Projects, New York, 2020) brought the geometric work to the United States. Yuill worked alongside a roster of artists grounded in psychedelic and visionary traditions.

Echoes (Kong Art Space, 2022) and Art Central Hong Kong (2023) continued the geometric practice through the social disruptions of 2020-2023, with the work becoming quieter and more precise under pressure.

In 2024, Yuill set aside the compass and the geometric vocabulary entirely. He relocated to Vietnam and spent several months producing 195 gestural ink paintings — made with no gallery expectation, no market, no prior body of work to build on. The geometric period ended not with a conclusion but with a decision to find out what was underneath it.