angeable works for me, and it doesn't matter too much if the dimensions are really just mathmatical devices, they can be portrayed as such. Aside from traditional landscapes- back as a kid in 1985 for assessment, it sounds a bit simplistic now, we were asked to do a painting based on post-modernist thought - unification (that unifying theories had met dead ends - my assumption was that this was regarding political, religous, etc. theories), fragmentation, eclecticism, infinities. My sources were artists like A.R. Penck who were exhibiting at the Venice Bienalle around that time, and found myself painting looped strings on space/time coordinates which worked really nicely except that I used black to signify infinities and black frowned upon unless it is representing something incredibly profound, which the irony of an infinity of unifying ideas it seems is not- Rothko had better uses for black. I hadn't heard of the trials of string theory at the time, but obviously I must have been influenced by sources that had, so I was working backward. Postmodernism was disenchanted with unifying theories and unlike modernism that believed in them and who's motto was form follows function, postmodernism's motto was form follows fun. Since then I did read about the t and s dualities, thought they were amazing and did do some paintings with them, but kids, moving countries and oils don't readily mix, so really trying to understand it all went onto the back burner for a more appropriate time.