In this next group I’m flipping the figure and ground — the borders come forward and the interiors fall back. This first piece in this mini-arc is just a grid of squares and rectangles, but the bright edges make the intersections feel like the subject. It’s a small shift, and it changes how the whole pattern reads.

Still working with the borders as the foreground, but this one starts to bend the idea a little. A few edges slip out of alignment, just enough to change how the grid feels. It’s a quiet inversion, a way of seeing the pattern through its lines instead of its spaces.

The borders start to turn — 45‑degree lines slip into the grid and change how the pattern reads. Yet another small shift, but this one tilts the whole structure just enough to feel new. The diagonals make the edges behave differently, and the space between them begins to matter more than the shapes themselves.

Multiples of 30 degrees replace the 45‑degree lines, creating a dense lattice. Also the whole is tilted relative to the frame. Now the diagonals take over the pattern. The edges cross and recross until the shapes feel secondary, almost like the grid is learning a new way to hold itself together.

The borders keep shifting — now they lean. Diagonal lines overlap and form arrow‑like paths that seem to move left to right at first glance, but the longer you look, the more directions appear. It’s also the first piece in this arc that doesn’t feel fully predictable: the pattern begs to extend beyond the frame, but there’s no reliable way to know what the next lines would do. A small step toward motion, and a small step toward something less orderly than before.