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S T A T E M E N T: In the simplest means I have endeavored to create a lively, interactive palette whereby you can express yourself. Personally, the human face is the single most intriguing image I can place on my retinas, closely followed, and of course sometimes exchanged for, the image of the human form...and we each have our preferences here. Without a doubt, we are hardwired so...as a crow for another crow. What amazes me is how endlessly fascinating what seems to be an almost endless number of facial types and the facial expressions which can flash across...all this from just changing a few of the parts here and there...a corner of the mouth, the flare of the nostrils, the angle of the ears, the flow of the nose, the texture of the skin, and so on. Who has not seen in another, often familiar, face...let alone your own , either frozen like a zombie or animated as if you had a glowplug stuck up...that appears soft, lovely, full of warmth, beauty and love in one frame, only to transform into a conniving, greedy swine in another. Yes, indeed, the neural net behind the retina that perceives the facial image comes into question, yet it is the endless variations on these handful of facial elements which is transmitting them... with its own neural net partially at the controls...that holds my fascination. Again, Nature gives us a vast terrain of incredible richness constructed out of a few elements given slight variations and endless combinations. And now we come to the essence of this journey... the parts to the whole. The parts to the whole...it is what drives our science, is fundamental to the arts, and often given to faith elsewhere. In our quest to understand it all...the whole universe(s)...all of life... the human body...the genome within...we are by design and without other recourse examining, studying, manipulating, cloning and exchanging the parts. It's all about the parts. It's really all about the whole, but all the talk and efforts are about the parts. It's one big swapmeet. Swapping parts out on your computer is one thing, swapping out DNA sequences in your body...let alone your food...is a lot more exciting. Remember the whole. The parts serve the whole. Trouble signs appears when the opposite rules. If modernism was a return to first principles ("art for art's sake"), post-modernism was not just a reaction to or a new branch from the old classical tree, but really a new seedling altogether. It anticipated and marked the beginning of a new age of discovery. What happens when you place or exchange new parts...often similar, but more often not...with the old? Do you get a new whole? A new view of the old whole? Is the unity of Nature inviolate...or is it much, much wider than our own limitations have imagined? Should limited imaginations constrain? That seedling is growing into a full-fledged trunk (post-post-modernism or some other -ism) anticipating what science is discovering...that we are just part of the parts manipulating the parts and just part of the recipient of those cloned, modified, manipulated parts and that the only way we can really thrive and enjoy this whole swapmeet is to get really, really informed by global education and communication. There are many beautiful faces...in fact most every face has its own beauty being taken from the same basic template. And you may want to have one just like the idealized one(s) formed or transformed here from the original (or maybe you prefer your neighbors). The ideal face (and the ideal body, too) is perhaps the simplest, most even and symmetrical realization of the concentric series of double pentagons which inform the geometric template upon which it is based...the very same template which informs the structural beauty of the axial-viewed DNA molecule itself. Perfect geometry is like what they say of perfect architecture...it is "frozen music." It puts us into a trance...indeed, time stops briefly as we intuitively soak in its perfection. The geometry draws us back...to the source...the DNA...and its incessant need to clone itself. The expression... the little, and sometimes not so little, distortions of that geometry...is what draws us human. ~Reg Brooks, August 1, 2004 |
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Writings based on visual art, math, music and physics 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-"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 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 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.) 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): "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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