
Fractal
In the late seventies Johns began to use a Y shape as the underlying building block for some of his sculptures. This was a long time before the term fractal appeared in common language as a building block to explain the organic growth patterns of rivers, trees, the arterial system of the human body and many other organic systems. Johns derived the shape as a symbol reflective of a male and female unity. As such he felt it had potency as a basic building block to build complex forms. It also suggests that beneath what can be seen there may be an underlying pattern which points to everything being interconnected. In this area contemporary Physics, the Arts and the older Perennial Philosophies have begun to share common ground. A wealth of figurative and abstract forms have unfolded from the use of the Y shape.

At the Centre There is Nothing
20013, corten steel, 400x400x190cm, Mosman Bay, Sydney, NSW

Fractal Mandala
2001, corten steel, 500cm high, Adelaide, South Australia

The Dance Continues
1987/88, corten steel, 850x850x950cm, Macquarie University Collection, NSW

Woven - Interwoven (Beyond the Flatlander)
2009, mild steel, 60x150x86cm, Private Collection, Victoria

Within - Without (of Land and Spirit)
2020-2021, solid mild steel, 500cm high, Lachlan River Sculpture Trail Collection, NSW

Black Fractal Mandala
2002, corten steel, burnt redgum, 132x116x40, Private Collection, Melbourne, Victoria
![_A2F7790[16825].jpg](https://static.wixstatic.com/media/985c6d_ebe7348e1bca4bc9ad658e777103dba1~mv2.jpg/v1/crop/x_113,y_0,w_797,h_707/fill/w_686,h_603,al_c,q_85,usm_0.66_1.00_0.01,enc_avif,quality_auto/_A2F7790%5B16825%5D.jpg)
To the Centre
2002/3, corten steel, 350cm high, Port Leo Estate, Sculpture Park, Victoria / Cate Blanchett Collection, Somerset, England