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Scattering Events Drawing

Regina Valluzzi

United States

Drawing, Ink on Paper

Size: 30 W x 20 H x 0.1 D in

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About The Artwork

A number od the drawings I've been working on use freehand details that combine with strong ruler assisted lines and compass and template constructed circles. The geometries using drafting tools construct the "bones" of each drawing. One advantage of using a toll like a compass to create perfect circles is concentricity. Circles can be closely nested, dashed line, thin line and strong line circles can be created, and it's relatively straightforward to create patterns of rings that share a common center or origin. Having spent years interpreting different types of polycrystalline diffraction patterns, I find that these patterns of rings are informed by years of looking at, illustrating, modeling and analyzing that data. I also spent years studying and understanding diffraction, scattering, elastic and inelastic versions of those phenomena, multiple scattering, absorption and all of the Physics around scattering and diffraction phenomena. The visualized ideas of propagating and interacting waves from multiple centers evoke that physics. These two length scales and views of scattering events comprise the large part of the drawing, with minute details alluding to additional events and imperfections, and also evoking some of the detail and wonder of seeing a molecular structure in oddly graded and sampled patterns of arcs and rings.

Details & Dimensions

Drawing:Ink on Paper

Original:One-of-a-kind Artwork

Size:30 W x 20 H x 0.1 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

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.

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