In some works of tessellation art the tiles only fit together in one way. This creates a sense of infinite repetition without variation. Tessellation artist Roger Penrose created a form of tiling in the 1970s now called Penrose tiling that broke with this principle. His model is non-periodic, meaning it lacks all reproducible symmetry. Tiles of varying shapes fit together in a variety of ways. These works depend on the mathematical principles of tessellation.
Art works such as Escher's also depend on tessellation to create a sense of infinite repetition within a limited space. This is because tessellations are self-similar, which means that the same designs occur as the scale of the image is increased. This mathematical principle gives the images a sense of infinite potential in terms of size. Art that uses tessellation also depends on its ability to repeat itself infinitely. Artists rely on this principle to create a sense that the design in the artwork is never-ending.
Most crucially, artists depend on tessellations to create patterns with no overlap or space between its parts. These works often have no white spaces and cover an entire surface with color and imagery. This seamless effect was achieved by the Spanish Moors in the Alhambra, and modern artists have taken inspiration from the structure. Artists today who want to create systematic pattern and cover entire surfaces -- be it of canvases or 3-D objects, rely on tessellation.
When artists use tessellations with color they often follow the four-color theory. A work of tessellation art uses this theory to ensure that no tiles of equal color meet at the curves in the pattern. This process does not prevent asymmetry, however. When artists wish to retain symmetrical repetition in a work with color, as many as seven colors must be used.