Grids—among the earliest technologies—function both as constraints and as catalysts for innovation. Modernist painters like Ad Reinhardt employed grids to explore the limitations of painting within predetermined structures, a logic that parallels digital networks and binary systems.


By disrupting the rigid linearity of the Gregorian calendar, My Moon Calendar reclaims an ancient method of marking time—one based on celestial cycles rather than mechanical measurement.  


Paradoxically, this chart-like painting object emerges from modern tools: viewing a chart on a laptop, a structured grid, a zoom lecture, and a contemporary lens on abstraction and design. The stamped checkerboard pattern imposes a standard of order, while the hand-drawn moons and text reintroduce imperfection, mirroring the broader dialectic between technology and embodied human experience. 


Color operates as a coded system with cultural and symbolic weight. The earliest pigments—red, black, and white—persist across millennia as markers of human expression.


Black, in a contemporary context, evokes the screen, the black mirror, a portal between digital abstraction and lived experience. My Moon Calendar interrogates how technology mediates perception and suggests that even in an era dominated by mechanized systems, there remains a vital need to reconnect with cyclical, nonlinear understandings of time through the two overlaying systems of binary color.

 
By synthesizing structure and intuition, mechanization and intimacy, My Moon Calendar stands as both a technological artifact and a meditation on presence, continuity, and the human impulse to locate ourselves within the cosmos.