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Surface Enrichment


Surface Enrichment Drawing

Regina Valluzzi

United States

Drawing, Ink on Paper

Size: 14 W x 11 H x 0.1 D in

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About The Artwork

Pigment ink pens, metallic ink pens and art markers on acid free RendR opaque drawing paper. 14 × 11 inches The surface of a condensed phase has special properties that are different from the interior. If a molecule thermodynamically “likes” being surrounded by other molecules on all sides, at the surface that molecule is exposed and thermodynamically “unhappy”. If the atoms in a material have a three dimensional preferred bonding pattern, at the surface some of those bonds are unsatisfied. Sometimes a molecule will segregate to a surface or interface. Usually these surface enriched molecules are pushed out of the bulk (thermodynamically – no maxwell’s demons here!). In this case, the molecules at the surface are usually different from the ones in the bulk interior. Since something has to go to the surface, thermodynamics favors keeping the best conditions for the majority of molecules in the bulk, and the less common chemistries are enriched at the surface. In the case of polymers, even a subtle difference like deuteration can cause noticeable surface enrichment. Polymers are long floppy molecules with low mixing entropy, so a number of effects are magnified. This artist’s creative and somewhat surreal rendition of surface enrichment uses archival Prismacolor art markers and Windsor and Newton archival pigment markers with Sakura pigment ink fine line pens and metallic ink pens on acid free archival RendR brand opaque paper.

Details & Dimensions

Drawing:Ink on Paper

Original:One-of-a-kind Artwork

Size:14 W x 11 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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