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10 x 8 in ($40)
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White ($80)
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Ink on paper - Archival Art Marker and pigmented ink ultrafine felt tip pen on acid free Crescent brand "RendR" paper (similar to Bristol board). "Gel" is a scientist's/artist's playful imagining of the sub-microscopic long molecules, covalent links, and non-covalent interactions in a complex gelatinous material. There are filled circles representing nanoparticle and collapsed globule inclusions. Open circles suggest micelles and vesicles, in a playful nod to the history of colloids, polymers and gels as a science. The pattern is repeated as bold lines and forms, smaller lines and forms and as ultrafine ink work. This reflection of the same pattern across different sizes and line widths evokes the self-similarity of a gel. In a self-similar material such as a gel, the same mathematics holds and describes the physics of the material across several length-scales, and many of the materials' properties obey power laws. This piece will ship in an acid free mat and glassine bag for protection. If you decide to have the piece professionally remounted and framed, please ask for archival acid-free mats to ensure the artwork's longevity. While I use archival materials in my works on paper, the inks used are still inks. If the piece is protected from UV (in framing) and kept out of direct sunlight it should last many decades.
Print:Giclee on Fine Art Paper
Size:10 W x 8 H x 0.1 D in
Size with Frame:15.25 W x 13.25 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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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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