"Transition to Chaos" is part of my "music and Machinery" group of paintings, which started from some experiments with geometric "mechanical" patterns of warmer, cooler, darker, and lighter shapes - while at MIT . The early ones looked more like "gridlock", but in pencil
Here's a link for prints of Gridlock. The original is currently leased (if that's of interest, talk to abby "at" turningart "dot" com) regina-valluzzi.pixels.com/featured/gridl…
and a detail that really evokes those earlier pencil drawings (I'll try to find one)
After MIT I was in Corporate research in the Chemical Industry (Akzo, now Akzo-Nobel) and then to PhD program at UMass Amherst. At MIT I had access to a shared studio for painting, but after there was about a decade where I had space for work on paper only. Things like these
Working on paper developed my sense of line and form; and ideas about color. Color is more blendable and less distinct in an oil painting than a drawing or pastel painting. chiaroscuro vs color interaction and contrast - color has an identity on paper. pastel left, oils right
When I created "Transition to Chaos", I was working with the potential of oils for blended versus juxtaposed and layered color, and also trying to figure out how to use oils capabilities to extend the mechanistic pattern ideas that resonate for me. For example, Elastic dialog
However, Transition to Chaos started off as a blended abstract expresssionism inspired "color" painting - one that just would not gel. Here it is.
My Dad was also a painter, and while I lioved at home, he could be a bit overbearing about "Abstract Expressionism is the ultimate form of painting". I'm not an Abstract Expressionist, despite occasional lapses in that direction. Geometry and nerdiness assert themselves
There was a point when I realized that flowing organic abstraction could work well for me - but as a layer, not as a complete piece. In pieces like "Transition to Chaos" that layer informs the geometries painted and sculpted on top.
Patterns from brushed, blended and manipulated paint in the lower layer are "regularized" in the geometric impasto painting overlay. A complex texture is overlaid with related pattern of lines and little squares. Blended color is broken into overlaid component shapes ...
This idea - taking an "organic" expressive abstract layer and overlaying bits of geometric discretized versions of the color and brushwork - is a common thread in many of my paintings, especially the allusive and geometric #sciart that I paint.
I believe it defines the hard-to-define appeal of some of my abstract painting. The ideas - simplify, "digitize", enhance contrast, reveal pattern - are drawn from data handling, which is probably why the resonate with #science types, even though they don't depict lab stuff.
I believe this is where the vibrancy of paintings like "Transition to Chaos" comes from all these ideas going into the visual brain. It's not just the "colorful" aspect. I could show you lots of "colorful" things that just aren't as engaging. nerdypainter.com/portfolio/tran…
I'm going to finish the thread with titles, specs and links for the pieces used as examples in the thread. You've seen a detail from "Emergent Order", here. Oil painting on canvas, 24"w x 36" h - original available, also prints. info here: nerdypainter.com/portfolio/emer…
There's a gallery of my "transition to Chaos" style work along with some artist notes on my website, here: nerdypainter.com/portfolio-2/ma…
(click "more notes" on the website page if you like to read the full notes)
Song of Solar Fusion - previous post in thread - 18x24 in oil painting. Sold, but prints are available here: regina-valluzzi.pixels.com/featured/song-…
A color juxtaposition based on yellows rather than muted tones
Atoll, 18x24 in pastel on paper (fixed). Available, but not yet listed. Message or reply or mention me to inquire.
Journey, ink on paper, approx 6x8 inches. Original was sold ages ago and I have not listed prints ( I can - inquire by message, mention or reply tweet). Early 90's
The Enticements of Futurism, 18x24 inch pastel on paper, fixed. Original available, not listed (inquire). Prints also not listed, but I have a good file - just ask if interested.
Stairway
9x12 inch oil painting, late 80's. Available - inquire
The precursor to "Transition to Chaos" was called "Soul of the City". The original is painted over and became Transition to Chaos. I also showed you another painted over piece "Altercation between Grape and Eggplant" They aren't available.
Altercation between grape and eggplant was painted over to become "Fluttering Indigo, which was sold. Before and after images
"Alien Reply" 12x12 inches, oil on linen, available (inquire).
Intersecting Orbits by Regina Valluzzi buff.ly/2KbRPQt #Prints through Fine Art America.
An artist mashup of Laue diffraction, #atomic orbitals and other ideas #sciart
The original is available (18 x 24 in) buff.ly/2LeHqER
#Artadventcalendar Day 21 more "old work", post PhD, during my Professorship in the Tufts Biotechnology Center: Yellow Conundrum, Autumn in the Pioneer Valley, Atlantis Sinking, Street in Vienna
I'm posting a mixture of representational and abstract work with these older ones - some think Abstract Art is all doodles and splishy splashy mindless fun (prob not my followers - I post a lot of Abstract). @AbstractArts@AbstraksMag
Many Abstract artists are very disciplined, directed, focused and are constantly challenging themselves. Certainly most of the ones I know are. When an artist makes the decision to do something unique and compelling, abstraction and abstract add to the challenge.