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S T A T E M E N T:
Little I can add in words can reconcile the profound effect that the tragic events of September 11 has had on our lives. I do know that personally, my own internal compass has been altered. Later that day, while at a local gas station I tried to relate to another, unaware driver what I had seen on TV earlier that morning. His response was, "Well, that just can't be right!" We all shared his disbelief. The loss of life was enormous and a tragic injustice to us all…man, woman and child. Lives were shattered. The tumult exceeded the imagination and emotional range that we thought we were capable of. Our emotional, moral and humanitarian compasses, to name a few, were spinning. Juxtaposed to this lost, or might I say stolen, innocence was an outpouring of the greatest sense of humanity I know I personally have ever seen or felt, exemplified by ordinary citizens, especially the people of uniform who have dedicated their lives to our well being…police, fire, health care, postal, and of course, armed services. Our compasses point to new heroes. In our remembrances to the lives and the life that we knew before 9-11, a true rebirth in our sense of who we are individually, and collectively, who we are as a country and as citizens of the world, based on the courage and compassion shown by our new heroes, resonates with us all. As a visual artist, my compass, too, was turned. Every artist deals with his/her world through their art. This is at the essence of art…of being an artist. To deny the pain is to deny everything. Do we not need singing, dancing, laughing…life!? Yes we do and yes we must! My own feelings of sorrow and even melancholia sometimes resonated with the body of work I started, at other times the whole question of dealing visually with the 9-11 tragedy ate at my innards. The disarray was pervasive. Could working through this visually for myself be of any value to others? I heard Garrison Keillor say it was the artist's duty to take something hard, painful, tragic and transform it into something we can handle, something beautiful. Meaning of course that both now and in the future we need a means to access and reflect upon the meaningful events in our lives. Sometimes we have to realign our compasses. PROCESS My process was quite simple and straightforward once one realizes that the 10 works in this series are actually the parts of the whole. In my efforts to respond to the tragic events of 9-11, a number of issues…emotions…images relentlessly presented themselves, and even competed with each other, to dominate my own personal handling of this most profound event in our lives. I realized that similarly, no one image was ever going to encapsulate the whole gamut of emotional response that often occurred simultaneously. Thus the work was conceived as such… a charged, often conflicting and unsettling, emotional panorama…which was then deconstructed, or divided out, into the 10 individual works. Because of the radical new approach the computer allows, I actually worked on all 10 works compositionally at the same time, copying, cutting, pasting, importing and exporting masks and their object layers at will. Only after the 10-work body was compositionally complete did I then work individually on each in the painting program. The conceptualization itself was based on the constant torrent of imagery, emotion and response alluded to above. Although the works were given a title only very late in the process, the titles nevertheless explore a good part of my own emotional response. From: shattered and tumult; to humanity, compassion and remembrance; to innocence and rebirth; to sorrow, melancholia and disarray; the 10 titles were formed. Only after the works were completed and signed did I thereafter go back into a copy of the digital file and explore some additional shadings of mood, color and tone, and thus designating them all as variations one through five on each title. On certain days one variation resonates more than another. I have made individual title montages of each of the 10 titled pieces. Each of these has the larger title piece and the smaller four variations. Lastly, I recombined all into the 11th work, 9-11, montage. Reginald Brooks, February 7, 2002 |
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Writings based on visual art, math, music and physics 2009-"GoMAS: The Geometry of Music, Art and Structure ...linking science, art and esthetics" ~ That simple geometric principles can be responsible for the manifestation of the multitudes of beauty, diversity and richness of Nature is further supported here in this paper. The Inverse-Square-Law (ISL), a simple geometric principle, is shown to be the common link between physics, chemistry, biology, and the science and esthetics of music and art. Nature has incorporated the ISL as the major game rule to building the cosmos. Our perception of pleasing form, color and sound is prophetically built into our sensory being, our biologic evolution, and our structural past. 2008-"The Conservation of SpaceTime".~The role of the Higgs, graviton and photon bosons in defining Dark Matter = Dark Energy (the inverse of) in the fractal Universe~ "Quantum Gravity ...by the book'" ~merging quantum mechanics with general relativity2007-"The History of the Universe - update - 'The Big Void'" ~A short, update supplement to "Dark Matter = Dark Energy (the inverse of): The Conservation of Spacetime by The Conservation of Force" and "The History of the Universe in Scalar Graphics." 2006-"The Butterfly Prime Determinant Number Array (DNA) ~conspicuous abstinence~" ~The role of the highly ordered positive space pattern of the odd non-primes in revealing the reverse, negative space pattern of the primes as a determined number array is revealed. "The Butterfly Prime Directive...~metamorphosis~". ~There is a logic behind the ordered and predictable pattern of prime numbers. 2005- "Butterfly Primes...let the beauty seep in". ~An ordered and predictable pattern for the prime numbers emerges. -"The LUFE Matrix: E=mc2...and then some".The focus is on energy. From Einstein's initial insight into the transformation between mass and energy, we now have a large number of similar transformations between energy and the other fundamental parameters of matter...i.e., charge and spin...and their activities within their space-time environments such as velocity and acceleration, frequency and temperature, momentum, pressure and force, potential difference, heat and work, etc.2004-"The History of the Universe in Scalar Graphics": (Simultaneous Birth of Black Holes and the Inflationary Universe at the onset of the Big Bang). A mostly graphical supplement to "Dark Matter = Dark Energy (the inverse of): The Conservation of Spacetime by The Conservation of Force". -"The LUFE Matrix: Infinite Dimensions ~a room with a view...within a room with a view...within a room with a view~." A new, speculative journey to account for the multiple dimensions that have informed The LUFE Matrix since its introduction in 1985. FAQ-graphic format. 2003-"Dark-Dark-Light: Dark Matter = Dark Energy (the inverse of): The Conservation of Spacetime by The Conservation of Force" -"The LUFE Matrix: the distillation of SI units into more fundamentally base units of space and time dimensions" (Short Title: "The Multi-dimensional LUFE Matrix" -"The LUFE Matrix Supplement: Examples and Proofs" 2001-Part II below, from 2000, was rewritten and recast for online publication as a three part series: Part 1: "PIN: Pattern in Number...from primes to DNA" A brief primer on visual patterns found in simple, well known number systems leading into the remarkable number magic and esthetic beauty of the DNA double helix (axial view) found in Part 2.GoDNA and continued in Part 3.SCoDNA. Part 2: "GoDNA: the Geometry of DNA (axial view) revealed" Which came first? The self replicating underlying geometry or the form itself with its dependence on enzymes, hydrogen bonding and a matching code of bases? Part 3: "SCoDNA: the Structure and Chemistry of DNA (axial view)" Extending GoDNA into the realm of structural detail and chemistry forming the composite design. 2000-"The Geometry of Music, Art and Structure…linking science, art and esthetics, Part II" self-published. The original material for this paper was presented (self-published) at the 1997 solo exhibition at the Montage Gallery, Portland, OR under the title "Patterns In Numbers: From Prime Numbers to DNA". 1998-"The Geometry of Music, Art and Structure…linking science, art and esthetics, Part I" presented at the Eighth International Conference on Engineering Computer Graphics and Descriptive Geometry in Austin, TX, sponsored and published by the International Society of Geometry and Graphics. The original material for this was presented at the 1996 solo exhibition at the Montage Gallery, Portland, OR.1991-"The LUFE Matrix: the distillation of SI units into more fundamentally base units of space and time dimension (Short Title: The Multi-dimensional LUFE Matrix)" with supplement, paper, self-published 1987-"Fundamental Constants of Nature: Mass", paper, self-published 1987-"Fundamental Constants of Nature: Ratios", paper, self-published 1987-"Fundamental Constants of Nature: Charge", paper, self-published 1987-"Fundamental Constants of Nature: The LUFE Matrix", paper, self-published 1986-"Mass Variation in the Electron by Photon Absorption & The Inverse Square Law", paper, self-published 1986-"Expose on Music, Color and the Inverse Square Law", paper, self-published 1985-(Online 2008)-"L.U.F.E.: The Layman’s Unified Field Expose" (a visual guide), textbook-manuscript, self-published |
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R E S U M É Education 1970- BS General Science, Oregon State University 1972- MS Cell Biology-incomplete, OSU 1973- MT(ASCP) Medical Technology, Good Samaritan Hospital & Medical Center, Portland, OR 1973- 1978- Medical Research Specialist, Good Samaritan Hospital & Medical Center, Portland, OR Solo Exhibitions 2007- Urban Wineworks Gallery, Portland, OR 2007- Lara Sydney Framing Gallery, Portland, OR (2-Person Show) 2005- Lara Sydney Framing Gallery, Portland, OR 2001- Lara Sydney Custom Framing Gallery, Portland, OR 1997- Montage Gallery, Portland, OR 1996- American Institute of Architects/ Portland Chapter, Portland, OR 1996- Montage Gallery, Portland, OR 1995- Montage Gallery, Portland, OR 1992- Zero Square Gallery, Portland, OR 1989- Oregon Graduate Center, Hillsboro, OR 1989- Portland Community College, Rock Creek, OR 1988- Beaverton City Hall, Beaverton, OR 1987- Mt. Hood Community College, Gresham, OR 1987- Beaverton City Hall, Beaverton, OR 1987- Beaverton Chamber of Commerce, Beaverton, OR Rhizome ArtBase 2006-"Butterfly Primes" 2004-"Your sFace or Mine?" 2003-"Naughty Physics (a.k.a. The LUFE Matrix) 2002-"HeyUfunknwithmyDNA?" 2001-"RealSurReal...aClone, 2001" Group Exhibitions (select, nonprofit org.) 2009- Netart Features 2009, JavaMuseum, Cologne, Germany 2009- 27th Annual Visual Arts Showcase 2009, Beaverton Arts Commission, Beaverton, OR 2008- "Hollywould", 2008 Freewaves 11th Festival of Experimental Media Art, Hollywood, CA 2008- "Welcome the Rain Sculpture Contest", 1st Place Winner, East Multnomah County Soil & Water Conservation District, Portland, OR 2008- All-Oregon Art Annual, Professional, juried, Oregon State Fair, Salem, OR 2007- 11th Int'l Conference on Information Visualization (IV07), July 3-7, Swiss Federal Institute of Technology, Zurich, Switzerland, DART gallery 2007- 4th Int'l Conference Computer Graphics, Imaging and Visualization (CGIV07), August 14-17, KMUTT, Bangkok, Thailand, DART gallery 2007- "Pacific Northwest Art Annual 2007", Cultural Forum, U. of Oregon, Eugene, OR 2007- 2006[10th] Japan Media Arts Festival, Tokyo Metropolitan Museum of Photography, Feb 24-Mar4, 2007 2007- "Allegories of the Genome", Vancouver, BC, Canada-online gallery-http://www.genomic- art.com/ 2006- 10th Int'l Conference on Information Visualization (IV06), July 4-7, University of London, London, England, DART gallery 2006- Int'l Conference Computer Graphics, Imaging and Visualization (CGIV06), July 25-28, Sydney, Australia, DART gallery 2006- "ARTIFICIAL A.GENDER? new media online exhibition:tba 2004- Eurographics 2004, Art Show "Art and Science", Grenoble, France 30 Aug - 3 September, 2004 2004- Rhizome ArtBase, http://rhizome.org, "Your sFace or Mine?", NY, NY 2004- "21 Years of Studios", Cathedral Park Place (invitational), Portland, OR 2003- Rhizome ArtBase, http://rhizome.org, "naughty physics (a.k.a. The LUFE Matrix)", NY, NY 2002- Bellevue Sculpture Exhibition 2002, City of Bellevue, WA 2002- Rhizome ArtBase, http://rhizome.org, "Hey! U funk'n with my DNA?", New York, NY 2002- Net.Art, The Irish Museum of Modern Art, http://www.irishmuseumofmodernart.com 2002- 20th Annual Visual Arts Showcase 2002, Beaverton Arts Commission, Beaverton, OR 2001- Net_Working, net.art, CHArt conference and Watershed Digital Cafe, Bristol, UK www.watershed.co.uk/Net_Working 2001- FILE_2001 (Electronic Language International Festival), net.art, Museu da Imagem e do Som, São Paulo, Brazil, August 7th-September 2nd, 2001. Online all year at: http://www.file.org.br 2001- Rhizome ArtBase, http://rhizome.org, "RealSurReal...aClone, 2001", New York, NY 2000- PICA, "Open Walls" (unjuried), Portland, OR 1995- Maude Kerns Art Center, "5th Sculpture Biennial", Eugene, OR 1995- Maude Kerns Art Center, Women’s Art Triennial, Eugene, OR 1993- Maude Kerns Art Center, "The Silent Child, Art as Healing", Eugene, OR 1992- Kinsey Gallery, Seattle University, Seattle, WA 1991- A.I.R. Gallery, "Choice"(unjuried), New York, NY 1989- Maude Kerns Art Center, "Icons and Idols, A Celebration of Ceremony", Eugene, OR 1989- Justice Center Sidewalk Gallery, Portland, OR 1988- Newport Visual Arts Center, "Nuclear Visions", OCCA, Newport, OR 1986- Northwest Artist’s Workshop, "On the Job", Portland, OR 1985- Germanow Art Gallery, "Current Visions ‘85", JCC, Rochester, NY 1983- Northwest Artist’s Workshop, "Description/ Portrayal" (Invitational), Portland, OR 1983- Arrowmont School of Arts & Crafts, "The Figure: New Form, New Function", Gatlinburg, TN 1983- "1st Annual Sherbrooke Int’l Painting Salon", Sherbrooke, Quebec, Canada 1981- PCVA, "Public Hanging" (unjuried), Portland, OR 1978- Northwest Artist’s Workshop, "Salon de Refuses" (unjuried), Portland, OR Past solo show theme titles (Paintings and sculpture): "~breathe~ A Celebration of Women", 2008 "A Void", 2007 "Infinite Dimensions...without borders", 2005 "The E-P Series: digital-encaustic with scratchboard", 2001 "Dance Number Appendage: A Surrealistic Look At Patterns in Dance and Numbers", 1997 "Lucy:Contemporary Reflections on Paleonathropologic Findings",1996 "Line.Surface.Volume",1996 "A Search for the Multicultural Mythology of Our Times", 1991 Publication/Presentation: "The Geometry of Music, Art and Structure...linking the esthetics of Art and Science" at the 8th ICECGDG (International Conference on Engineering Design Graphics and Descriptive Geometry, sponsored by the International Society for Geometry and Graphics, the Japan Society for Graphic Science, and the Engineering Design Graphics Division of the American Society for Engineering Education; hosted by the College of Engineering, The University of Texas at Austin).1998. Published in the Proceedings of the 8th ICECGDG, Vol. 2, pg 378, ISGG, Tokyo, Japan, 1998 |
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