Unity Through Opposing Directions(with the help of a triangle)

Ancient Greeks spoke of the perfection of basic geometric shapes( Socrates via Plato), the circle(sphere)and the square(cube) and others. Leonardo da Vinci relied on the unifying compositional effects of the triangle. Many paintings’ design unity is owed to geometric shapes like the triangle or circle often in disguised variations.  If I take a triangle and stand it up like the letter “A” or  turn it upside down like the letter “V” it appears as an overt triangle. Many of our letters depend  upon variations of the triangle, the  Y,M,N,V,X,Z,W, and K.  If  I tilt the triangle “A”  backward in accordance with the  rules of linear perspective I can still exploit its unifying capability.  I have done this in my first example with the NYC pedestrians. The painting relies on a single point perspective design with half the recessional ( orthogonal) lines receding to the vanishing point( red lines and arrows) and, half the impied orthogonals advancing forward (blue arrows).  The advancing pedestrians imply a contrary direction to the street’s  lines of recession.          In my second example I have an interior of  Grand Central Station with horizontal blurring to suggest horizontal motion, the result of  quick horizontal scanning, which is further reinforced by the horizontal format.  In addition, there are two opposing in/out lines of  direction.  The red lines and arrows direct your attention to recessional lines pulling you into the picture’s deep space and there is a contrary tension provided by two figures( see yellow arrows). They are positioned  to the left and right. Both figures are striding away from the painting’s internal perspectival center. Another polarity is added by making one of the figures female and one male. The tension between their opposing directions to each other and, to the recessional lines of the  design creates a dynamic unity and, expands the picture’s space. The painting also relies on the spectral opposites of a deep blue versus yellow to create another form of opponent unity. My third example takes place in a more compressed space, a news stand in Grand Central Station.  I have used the red arrows to indicate recessional lines moving toward vanishing points on the sight line. But here there  I use multiple point perspective.  The blue arrows are the lines of vision of the four characters. Three of them look out from the picture. Only one, the female, looks in as she encounters a male form moving out from the picture.  I am amused that even my colored arrow indicators are composed of triangles. If I want to direct your attention a triangle is a valuable tool. Reverse triangles, just as implied opposing directional motions   lock the viewer into the picture space through dynamic contradiction.