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Fine Art Paper
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12 x 9 in ($57)
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White ($80)
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Archival art markers (Prismacolor and Winsor & Newton pigment markers) and pigmented felt tip pens (Sakura Micron Pigma and Derwent linemaker ultrafine felt tip pens) with metallic paint on acid free Strathmore Series 400 drawing paper. When you have to understand a situation where there are a lot of particles or molecules or atoms all interacting and exerting force and influence on one another all of the individual interactions can become intractable. One way to address this problem is through simulation. Another is by selecting one particle or molecule to follow and averaging out all of the forces and interactions from all of the others into a field. This is an artists depiction of that process, with some license taken of course. There are several sources of force and interaction, with emanating circles of influence starting to form averaged or mean conditions – a field. There are also numerous particles being acted on and in this case corralled along a path of motion ion that field. Variations in the particles and the breadth of the path suggest the statistical and not completely deterministic nature of that motion and of the filed action. Enjoy.
Print:Giclee on Fine Art Paper
Size:12 W x 9 H x 0.1 D in
Size with Frame:17.25 W x 14.25 H x 1.2 D in
Frame:White
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Art prints are packaged and shipped by our printing partner.
Ships From:Printing facility in California.
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United States
I am offering a selection of Abstracts and abstracted Science theme work on Saatchi. Please search for me online for my Landscape and Tree of Life bodies of work. I often ask myself whether I'm a physical scientist who also paints, or a painter who has studied a bit too much physics and chemistry. Physics and Chemistry have become a big part of how I model and understand the world. I approach paint texture in terms of it's viscoelastic properties, and color in terms of pigments and their spectra. If you take a cadmium inorganic red and it's organic substitute, gently tweak them so they look almost identical in indirect daylight, will they behave differently in incandescent light? Sunlight? Late afternoon light? (controlled lab light?) Unlike people, fruit, landscapes and other traditional painting subjects, technical ideas and objects don't have an "appearance" in any normal sense of imagery. They're imagined and depicted as visual ideas that guide us through complex phenomena. For example what do like bonds in molecules really look like? Or the quantum not-quite-existence of high vacuum-spawned subatomic particles? The softly dancing dynamic structures in complex fluids? What about "things" that are too small and too delicate for even the best electron microscopes (TEM - SEMs are toys)? I've found that many images scientists create serve as visual similes to data and hypotheses, and as visual metaphors for complex and often highly abstract concepts. These metaphors and their stylized interpretation inspire and guide my "abstract" work.
Artist featured by Saatchi Art in a collection
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