The void and puddles of colour played a metaphysical role in generating images

 

and associated forms of the frame (as the outer perimeter enclosing the images).

I wondered if Nature might provide a scheme as an alternative to the metaphysics. 
        
Years earlier I had admired examples of rhombic tiling composed by the English Physicist. Roger Penrose. I now constructed a ten sided rhombic figure (decagon) comprising ten rhombi and I found that the ten long diagonals formed a fan of radials at 18° intervals over 180°. (Nominate this as CLASS 18)

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I further discovered rhombic classes with radials at 15° and 20°. These angle intervals determined the polarity of the rhombi. Each polarity held unique properties – for example, a 15° polarity (CLASS 15°) determined that the rhombi progressed from one to potential infinity as a mathematical progression *
      
I was able to attribute colours of the spectrum to the various polarities of each rhombic class. Rhombic CLASS 20° resulted in the spherical image, ‘The Spinoza Lily’.  And there, in its structure, I could see the rhombic form of the Taijitu, the Tao totem of the Yin/Yang **

 

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*  See ‘Three events of Insurrection, ’RHOMBI’ P.11

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** ENANTIDROMIA;
The Greek sage Heraclitus (Ca 500 BC) suggested that sooner or later everything turns into its opposite.
The Chinese philosophers in the I Ching posited that when things have reached their culmination, they transform into their opposite

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In ‘THE SPINOZA LILY: The Seed’ the rhombic construction lines change (from white or black) as they cross the shared border of the Yin and Yang. See RHOMBI P.24