he must be ultra careful. He
says he calculates as he goes
along. He takes careful mea-
surements using ruler, compass,
and wire. So it is not surprising
to learn that before turning to
creating art in retirement Yezza
worked in the computer industry
for 21 years, lastly as a computer
operations manager, an exacting
and methodical job. Before he
began to render mathematically
inspired art he made a living
from his capacity for interpret-
ing and managing technical data
and processes.
He explains that there is a con-
nection between data process-
ing and his art: He says in data
processing “there are two num-
bers : zero and one. There is a
rhythm to it, and you could find
it,” he says. This is telling, for
Yezza describes his technique
as stemming from a process of
“connecting two points - point
A and Point B. I continually do
NJ STAGE 2017 - Vol. 4 No. 9
that. I take certain measure-
ments. I apply dots. Then I
connect the dots.” He further
elaborates on his website, “now
I join an inner point to an outer
point, clockwise then counter
clockwise. However, there are
many shapes one may use as a
line, but ultimately you’re always
moving from point to point.
Repetition is the one constant in
all my work.” On his website he
sums up his technique , “comp
ass+ruler+geometry+imaginati
on.”
Yezza says of his wood pieces,
“It’s not like working on paper
which you can throw out,” he
says laughing. So he works very
slowly, painstakingly, creating
just two or three wood images a
year. “You create a certain part
of it and then you walk away.
And then you go back to it. Re-
lax with it.” He notes playfully, “If
you do make a mistake some-
where you better be sure you
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