Where it already was
Claim
The source book gathers resemblances rather than instances: one photographed pavement, one tessellation by another hand, and a set of artworks offered as kin.
Construction
The book keeps a short section of things that look like the shape or work the way it does. It is a page of noticing rather than a claim of priority.
The informal end of it is a plate of four silhouettes — comet, balloon, vase, fish — alongside two unillustrated observations: the circular grid stamped under canned goods, and a coiled garden hose.
What the material actually shows
There is one photograph of a real installed surface: a fish-shaped concrete paver pavement with moss in the joints, shot on the ground, captioned as of unknown origin. It is a genuine interlocking tessellation in the wild, and it is somebody else's shape, not this one.
There is one flat tessellation graphic, captioned to a mathematics professor and reproduced without comment. What construction lies behind it is not stated.
The rest are artworks: two Paul Feeley paintings from 1965 and a negative-curvature ceramic by Robert Fathauer from 2017, both carried as comparison. A gold four-armed jack appears at the end; its caption attributes it to Feeley while the book elsewhere invokes that image as a scale analogy of its own, so what it is doing there is genuinely unclear.
None of these is the nuna tile. The page should not be read as finding the shape in the world.
What would change this page
A photograph of the shape itself, or of something indistinguishable from it, in an existing building, pavement, textile or ornament, with a location and a date. That is a different kind of evidence from a resemblance, and nothing on file is of that kind yet.
Note
You have been looking at pavements for years. This is the page for what you have actually seen.
Open questions
- No instance of this tile found in the wild is on file. The strongest entry is a related tessellation by another hand.
- The canned-goods grid and the garden hose are anecdotes without pictures.
- None of the cited artworks has a rights note attached, which matters if this page is ever published with its images.
- What the jack on the last page is — another artist's sculpture, or the book's own analogy — the book does not settle.
Checks
| What | How | Source |
|---|---|---|
| Fish paver pavement | Photograph of an installed surface; a different tessellation, origin unknown | A New Shape, p. 80 |
| Tessellation by Alejandro Gallardo | Flat digital graphic, reproduced with an attribution and no caption text | A New Shape, p. 81 |
| Feeley paintings | ‘Errai’ and ‘Untitled’, 1965, carried as comparison | A New Shape, pp. 82–83 |
| The jack | A gold four-armed jack, captioned to Feeley but invoked on p. 78 as the book's own scale analogy | A New Shape, p. 85 |
| Fathauer ceramic | ‘Dragon Surface’, 2017, a fired object by another artist | A New Shape, p. 84 |
| The shape itself, found in the wild | No instance on file. | — |