I’m proud to have two of my pieces, Close To Water and Quantum Sunray selected to be included in this annual event.
Each year, Brighton Jetty Sculptures, raises funds for the Brighton Surf Life Saving Club volunteers. On display for 12 days, don’t miss out on seeing over 200 sculptured works by many South Australian and national Artists.
Entered under the newly developed category, Relief/Wall-hung Sculpture, I believe this describes what my work is about.
Patritti Brighton Jetty Sculptures January 22 to February 2, 2020 Brighton Beach, South Australia Open 8—8pm most days www.brightonjettyclassicsculptures.com
Close To Water, detail.Front on view: Close To Water, oil paint on JPP Synthetic, 905 gsm. Floating on silver acrylic-mirror strips and adhered to a 3mm back panel with 12mm spacers, 789h x 1072w x 40d mmSquare Root of an Expression (Quantum Sunray), detail, 824h x 732w x 40d mmFront on view: Square Root of an Expression (Quantum Sunray), Oil paint on JPP Synthetic, 905 gsm. Floating on silver acrylic-mirror strips and adhered to a 3mm back panel with 12mm spacers, 824h x 732w x 40d mm
You will find my work in the large white marquee. Located on Bindarra Reserve which is on the northern side of the Brighton Surf Life Saving Club.
My artist statement and description of the work: My curved canvases are worked on as three dimensional objects. However, rather than considering the interplay between solid and space as a sculpturist does, my forethought is to return to the ‘flat two dimensional picture plane’. As this reflects our ingrained version of reality – that we are tied to a flat universe yet entangled with all its probabilities in the vastness of infinite space.
Helium Sculpture (contemplation side): A double-sided painting that can be hung either side. Why? Because structural expressions are made on both sides of the canvas at the same time.Helium Sculpture (reverse side): This side reveals my working notes, processes and thoughts. Middle right side of diagram: This illustrates how reciprocal marks can eventuate on curled surfaces. Creating a network of emptiness (one expression) that when unraveled remain bonded to the flat two dimensional picture plane.
Curved canvases
Since 2004, I have been developing the idea that a different kind of aesthetic is created when events are deployed on curved canvases. Marks created in this way take on the form of the geometric profile.
The curved canvases are worked on as three dimensional objects. However, rather than considering the interplay between solid and space as a sculpturist does, my forethought is to return to the ‘flat two dimensional picture plane’. As this reflects our ingrained version of reality — that we are tied to a 2D universe yet entangled with all its probabilities in the vastness of infinite space.
I call this approach Membrane Art. As it is the curved canvas surfaces that creates the basic structure for each work of art. Only when it is unraveled and stretched-out does the aesthetic emerge as a network of expressions.
Membrane Art is inspired by the present context of a ‘multi-dimensional’ universe and the way nature itself could be. An aesthetic thought that I continue to evolve.
Helium Sculpture along with 9 other pieces are on display at Little Bang Brewing until August 15, 2019.
Mirrored Space Exhibition at Little Bang Brewing. A different aesthetic is created on curved canvases.
Square Root of an Expression (Quantum Sunray) — Yellow On Silver Mirror. On display at Little Bang Brewery until August 15, 2019.Square Root of an Expression (Quantum Sunray) — Yellow On Silver Mirror (Catching the light)
In the 1950s and 1960s, with his work on ‘spatialism’ Lucio Fontanta gave us a new concept of space. His gestural expressions of ‘buchi and tagli’ (cuts and holes) called for a new art form that reflected and responded to the current understanding of space and time. Especially with his sharp edge cutting of the canvas, he was able to show that you can extend the 2D object into a 3D conceptual one. His work created an image through the direct engagement of both the canvas’s physical properties and the space that exists around it. In a nutshell — he made us think about the role of the surrounding space. Lucio-fontana.
Rather than the surface exposing time and space. My work ties us to it. Firstly, by creating marks in a 3D curvature construct. Reciprocal and distinct cavities develop as one expression. These marks are only possible through the advent of a curve. So when finally, we do observed the results on a 2D flattened picture plane (the switch from 3D to 2D represents the collapse of ‘probabilities’), a network of emptiness emerges — reverberating as a mirrored envelope, reflecting our ingrained version of reality.
An aesthetic that is deeply rooted in the present context of a ‘multi-dimensional’ universe and the way nature itself could be.
Scorched Echo Reflections, oil on JPP Synthetic, set off a blue-mirrored back panel with 12mm spacers, framed.
The aesthetic thought — use the membrane surface to create events in 3D curvature space (as a sculptor) then bring it back to the flat 2D picture plane for observation.
Oil on JPP Synthetic, set off a blue-mirrored back panel with 12mm spacers.
Just one of my pieces that may be exhibited at Little Bang Brewing’s new exhibition space. Details to come.
Preamble
In the 1950s and 1960s, Lucio Fontana gave us a new and radical concept of space. His gestural expressions of ’buchi and tagli’ (holes and cuts) called for a new art form that reflected and responded to the present-day’s understanding of space and time — he called this work ‘spatialism’. Especially with his sharp edge cutting of the canvas, for which he is famously known, he was able to show that you can extend the 2D object into a 3D conceptual one. His work created an image through the direct engagement of both the canvas’s physical properties and the space that exists around it. At no stage did he call what he was doing…painting. It was a ‘spatial concept’ with the objective of forcing us to think about the role of the surrounding space.
Today, as we try to grapple with our understanding of the cosmos, what I call ‘Quantum Brushstrokes’ aims to reflect our times but may in fact be an extension of Fontana’s idea. However, what distinguishes my work from his is that the mark-making events have been prominently created on curved structures. That is, all my works are structurally created in the 3 dimensional form before I bring them back to the two dimensional flat picture plane we now observe. So rather than the surface exposing time and space, I’m tying us to it. By creating reciprocal markings, distinct cavities develop, akin to an echo, that could not be achieved unless some sort of curvature construct was involved.
So when you observe any of my works, even though the geometric conditions may have change form, you can never alter their uniqueness nor their fate to remain tied to the two dimensional reality of the picture plane. A truth about the human condition — that we are trapped on the edge of a 2D universe yet entangled in all its probabilities in the vastness of infinite space.
My work is nothing more than mere expressions dancing on hollow nothingness; As the curved surface geometries changes form, you can never alter their uniqueness or their fate to remain tied to the two dimensional reality of the picture plane — a truth about the human condition — we are trapped on the edge of the universe yet entangled in all its probabilities in the vastness of infinite space.
Yellow Helium Bloom is one of my paintings that will be exhibited at Little Bang Brewing‘s new premises in 2019. Further details to come.
Yellow Helium Bloom by Malcolm Koch, oil on JPP Synthetic, suspended with 12mm spacers off a blue-mirrored backing panel.
Close up of a ‘drill hole expression’. As the drill bit cut the surface it scolds the edges of the cavity. Leaving behind a mark that shows anti-clockwise spin and reverse side entry. The blue-mirrored panel below reflects back to the viewer the ‘nothingness’ that has been created.
Destruction and creation are bonded together through a series of mark-making events that have been achieved in three dimensional form. So when the expressions are ‘opened out’ and observed on the two dimensional picture plane, they create distinct and reciprocal cavities that confines us to the surface — setting in motion a further process of deep reflection or meditation.
I’m proud to announce that Little Bang Brewery will host my art once they’ve settled into their new premises in Stepney. The exhibition is likely to be in early 2019 and will feature a range of new work exploring what I call ‘Quantum Brushstrokes’. Further details to come.
I’m honoured to be selected as a finalist in the Open Category of the Waterhouse Natural Science Art Prize™ 2018 for my piece ‘Oxygen Captured’.
This is the third time I have been selected as a finalist in this prestigious exhibition. My entry ‘Oxygen Captured’ represents a single oxygen atom. By representing this atom at a human scale, I hope it will highlight the precious qualities oxygen has for our existence. However, the below image is not the side you will see on display. It is intended as an insight into my ‘hole’ working method. Illustrating how I can work on both sides of the canvas as one ‘complete’ expression — an aesthetic I call Quantum Brushstrokes. And an Artistic Approach that I consider is neither painting nor sculpture.
The reverse side of Oxygen Captured: The above image shows my working notes. Although this side is not on display, it illustrates my working method. An approach that I believe creates works of art that is neither a painting nor a sculpture. Front side is on display at the Waterhouse Natural Science Art Prize™.
See for yourself — the front side will go on display, with all the other selected finalists’ works, at the Waterhouse Natural Science Art Prize™ finalists’ exhibition, South Australian Museum from June 8 until August 5, 2018.
‘I’m re-imagining our universe — entangled in the void of spacetime; As the image transforms from the three dimensional to the two dimensional form, it emerges free to endlessly stretch out beyond the limits of the flattened picture plane.’
Oxygen Captured: Presented side on display at the Waterhouse Natural Science Art Prize™.
Malcolm’s Artistic Approach: Is it painting or sculpture?
Since 2004, I have been developing the idea that a different kind of aesthetic is created when events are deployed on a curved canvas rather than a flat ‘two dimensional’ plane. Marks created in this way take on the form of the geometric profile, so that when the results are re-stretched to the two dimensional picture plane, the aesthetic emerges. I call this approach Membrane Art — as it is the curvature profile(s) of the surfaces that underpins the development of each artwork.
Like a sculptor who works in three dimensional space, this approach allows me to engage with all dimensions, space and surface, including both sides of the surface. However, unlike a sculptor, when ‘painting’ in this way surfaces are partially, or completely, obscured from my sight. Also, unlike painting directly onto a flat picture plane, the flexibility of the curved canvas surface allows for reciprocal marks to result that cannot be achieved on a flat surface. However, the key is always to return to the two dimensional picture plane as this generates the human visual experience.
Why paint in this way?
Recognising that the surface membrane creates the basic structure for the artwork is only the beginning. Results can either echo, connect and/or entangle themselves in ways that cannot be achieved in our flat dimensional world — yet, in the end, you never truly know what you’re going to be looking at until you unroll it. It shows that the markings have come from somewhere else — where expression and sculpture unite — which is why I consider this approach neither painting nor sculpture.
Creating a different kind of abstraction is born out of a need to ‘geometrically’ define our multi-dimensional universe. It shows a world that we cannot observe directly, yet we know it exists. So the meaning may appear latent but the premise and execution of the artwork is far from it. There certainly is a sense of freedom by working in this way. Creating a gestural response that is deeply-rooted in the present context of quantum physics yet not bound by its mathematical theorems, provides an artistic licence to explore.
MA#41: My entry in the Waterhouse Natural Science Art Prize™ 2014 finalists’ exhibition was Highly Commended.
Membrane Art holds true — regardless of whether the events made on the surface are painted, sprayed, poured, drilled, slashed, stamped, cracked or any other kind of mark-making. It is the curved nature of the membrane surface that creates the structural expressions for the work and, provided the work is presented in a flattened two dimensional form for observation, it is a consequence of the aesthetic thought.
Similar to the way things may appear in nature at the atomic level, we may not fully comprehend the methods and sequences that allow it to appear the way it is but it seems to form part of our inherent reality.
Painting today needs possibilities, to go beyond a rehashed post-Minimalist or process-based ideas from the ’60s and ’70s, and discover a beauty that it can call its own.
Here is my Artist Statement that relates to my entry ‘Oxygen Captured’ in the Waterhouse Natural Science Art Prize™.
The complex science surrounding the properties of a particle (ref. Atomic No.8) is fundamental to the formation of the conditions that promoted life on our oxygenated earth.
The constituent parts of an atom – protons, neutrons and electrons are represented by drill holes through a furled canvas (protons, neutrons) and sawn slashes (electrons). When the canvas is re-stretched to 2D form the drill holes and saw cuts create equidistant opposing “marks” within the white surface as in the inner vastness of atomic space.
The wave-like furling of the canvas, and the passage of drill and saw marks through it, when arranged in this fashion result in the kind of symmetry that is reminiscent of atomic structure and dynamic particle relationships that are the basis of all matter.
About the Waterhouse Natural Science Art Prize™.
The Waterhouse Natural Science Art Prize commemorates the birth of the South Australian Museum’s first curator, Frederick George Waterhouse. The biennial prize is an opportunity for artists to investigate the world around them, and present their perspectives on natural science. It encourages artists to make a statement about the scientific issues facing our planet, and offers a valuable platform for them to contribute to the environmental debate. Over the years the competition has become a much loved fixture on the arts calendar, allowing artists and audiences to explore natural science through a range of creative outlets. South Australian Museum – Waterhouse Natural Science Art Prize™.
Lithium Mesh: My entry in the Waterhouse Natural Science Art Prize™ 2016 finalists’ exhibition was Highly Commended.
More about Malcolm’s approach: Membrane Art: An evolving expression.
What started out as an investigation to find an authentic aesthetic manifestation of our natural world, particularly the way we observe it, has materialised into something more concrete, Membrane Art — a practice of allowing the surface geometry to play a part in creating distinctive expression and unfolding events.
The initial proposition was to fold, or undulate, a loose canvas (take it off the frame) and paint on it – then compress the depth by stretching the canvas back onto the frame (flat picture plane). The undulating membrane would provide a re-enactment of nature (containing multidimensional values). Something akin to the geology over glacial time frames that has determined configurations of landscape. The flat plane generates the human visual experience, a visual metaphor for how we perceive.
Events form and accumulate within the space over a period of time. Then by unfolding and recognising what happened it becomes an extension of ones cognitive ability to understand the geometric conditions and the state of materials that allowed such things to occur.
The discovery of this working practice showed him that he could transform the geometry of the canvas in its un-stretched form to the stretched. Furthermore, he realised that he didn’t just have to solely use the effects of gravity. With varying degrees of manipulation he could apply marks that either control paint flow, allow holes and cuts to be made (Quantum Brushstrokes discussion), or scrapings to form, or whatever action one chooses to apply. The actual membrane itself still underpins the aesthetics of each piece, although the degree of simplicity or complexity can be regulated and enhanced.
The impact of this work from the viewers experience is quite different. The viewer experiences the results of the work as a flat picture plane rather than an accrual of the method used. The aesthetic appreciation comes through the contemplation of each piece – setting in motion a further process of deep reflection or meditation.
For more information contact me or to see my artwork Oxygen Captured in the flesh, please take a visit to the Waterhouse Natural Science Art Prize finalists’ exhibition at the South Australian Museum from June 8 until August 5, 2018.
I’ve just visited a wonderful exhibition at the Art Gallery of Ballarat: Eugene von Guérard and rediscovered a name I’ve long forgotten about, the polymath, Alexander von Humboldt.
Eugene von Guérard like many artist at the time was inspired by Humboldt’s view that art and science is one and the same. This is such a wonderful exhibition of Australia’s colonial past. So glad to have seen it and the rest of the gallery’s impressive collection of Australian iconic art. It’s on until May 27, 2018.
The above sequence shows how drill holes and saw cuts are produced on curvature structures ( a variant of Membrane Art that I call Quantum Brushstrokes). Similar to the way a brushstroke mark is made on a flat plane – there is initial contact, movement across and then an exit off the surface.
In 2004, I began experimenting with the idea that I could open up surfaces and spaces to countless more perceptual possibilities by painting on a curve rather than on a flat 2D plane. The events created on the curved surface would re-enact the ‘completeness’ of our natural world, and when the results are unraveled and revealed on the 2D picture plane it might generate the human visual experience, thus being a metaphor for how we observe. Since, this approach has enabled me to evolve and develop a body of work that I refer to as Membrane Art. The key influence and structural basis of my art practice.
Although incomplete and requiring further explanation, these drafts are just for a bit of fun. I’m trying to illustrate an aesthetic interpretation of how fundamental particles may have evolved in ’empty spacetime’ not flat but as a curve. A kind of proto general relativity phase that results in a quantum blockage/wall developing. Making way for the right conditions to form elementary particles within the manifold.
In 2004, I began experimenting with the idea that I could open up surfaces and spaces to countless more perceptual possibilities by painting on a curve rather than on a flat 2D plane. The events created on the curved surface would re-enact the ‘completeness’ of our natural world (particularly at the atomic scale), and when the results are unraveled and revealed on the 2D picture plane it might generate the human visual experience, thus being a metaphor for how we observe.
Since, this approach has enabled me to evolve and develop a body of work that I refer to as Membrane Art. The key influence and structural basis of my art practice.
Top: side-on view, Middle: top view, Bottom: stretched-out view:
The above shows what has happened when paint was poured on a wavy surface. Gravity allows the paint to define the form as it flows from the top (point of contact) to either side of the surfaces until it hits the base below. The stretched-out view (bottom image) starts the process of compressing the depth to generate the human visual 2D experience.
‘I’m attempting to discover a universe; Concealed in the endless possibilities of 3D space, yet confined to a flat picture plane that reflects our inherent reality’. Malcolm Koch
Malcolm’s Artistic Approach: Is it painting or sculpture?
Since 2004, I have been developing the idea that a different kind of aesthetic is created when events are deployed on a curved canvas rather than a flat ‘two dimensional’ plane. Marks created in this way take on the form of the geometric profile, so that when the results are re-stretched to the two dimensional picture plane, the aesthetic emerges. I call this approach Membrane Art — as it is the curvature profile(s) of the surfaces that underpins the development of each artwork.
Like a sculptor who works in three dimensional space, this approach allows me to engage with all dimensions, space and surface, including both sides of the surface. However, unlike a sculptor, when ‘painting’ in this way surfaces are partially, or completely, obscured from my sight. Also, unlike painting directly onto a flat picture plane, the flexibility of the curved canvas surface allows for reciprocal marks to result that cannot be achieved on a flat surface. However, the key is always to return to the two dimensional picture plane as this generates the human visual experience.
Why paint in this way?
Recognising that the surface membrane creates the basic structure for the artwork is only the beginning. Results can either echo, connect and/or entangle themselves in ways that cannot be achieved in our flat dimensional world — yet, in the end, you never truly know what you’re going to be looking at until you unroll it. It shows that the markings have come from somewhere else — where expression and sculpture unite — which is why I consider this approach neither painting nor sculpture.
Creating a different kind of abstraction is born out of a need to sculpturally define our multi-dimensional universe. It shows a world that we cannot observe directly, yet we know it exists. So the meaning may appear latent but the premise and execution of the artwork is far from it. There certainly is a sense of freedom by working in this way. Creating a gestural response that is deeply-rooted in the present context of quantum physics yet not bound by its mathematical theorems, provides an artistic licence to explore.
Membrane Art holds true regardless of whether the events made on the surface are painted, sprayed, poured, drilled, slashed, stamped, cracked or any other kind of mark-making. It is the curved nature of the membrane surface that creates the structural expressions for the work and, provided the work is presented in a flattened two dimensional form for observation, it is a consequence of the aesthetic thought.
Similar to the way things may appear in nature at the atomic level, we may not fully comprehend the methods and sequences that allow it to appear the way it is but it seems to form part of our inherent reality.
Painting today needs possibilities, to go beyond a rehashed post-Minimalist or process-based ideas from the ‘60s and ‘70s, and discover a beauty that it can call its own.
These two paper studies show how one drill hole and two saw cuts (ie, similar energy forces were involved) can produce different results depending upon the membrane configuration at the time of creation. Quantum brushstrokes.
Experimental work on paper: The two trajectory paths of the strings followed a straight line in the curled up ‘complete space’ of when it was created. Now when we observe it on the 2D picture plane (human viewpoint) the strings appear to be networked differently. For more see Quantum brushstrokes
Embossed quark hole showing the anti-clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 1 of 3 holes).
Debossed quark hole showing the clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 2 of 3 holes).
Embossed quark hole showing the anti-clockwise spin direction of the membrane. Detail of Lithium mesh (bottom right – 3 of 3 holes).
Lithium mesh: This painting/sculpture shows a number of drill holes and saw cuts. The bottom right set of 3 ‘quark’ holes (single quarks shown above) were all created at the same time or rather as one complete expression. Yet we may observe both ‘up and down’ qualities on the 2D picture plane. This is possible when the geometric state of the membrane is altered (curled) in a way to allow such events to occur before it is then unravelled to the 2D flat plane for observation – the principle idea behind Membrane Art. For more information see Quantum_Brushstrokes or Membrane Art.
Lithium mesh was highly commended at the Waterhouse Natural Science Art Prize, 2016. Synthetic polymer on JPP Synthetic, 566gsm, 1020w x 760h mm
Showing 8 electrons (represented by 2 opposing saw cuts), 8 protons and 10 neutrons (represented by a set of 3 ‘quark’ drill holes with up and down properties depending upon the spin of the membrane at the time of creation).
Showing 7 electrons (represented by 2 opposing saw cuts), plus 7 protons and 8 neutrons (represented by a set of 3 ‘quark’ drill holes with up and down properties depending upon the spin of the membrane at the time of creation).
Showing 6 electrons (represented by 2 opposing saw cuts), plus 6 protons and 8 neutrons (represented by a set of 3 ‘quark’ drill holes with up and down properties depending upon the spin of the membrane at the time of creation).
Membrane Art holds true — Regardless of whether the events made on the surface are painted, sprayed, poured, drilled, sawed, stamped, cracked or any other kind of mark making, the curved nature of the membrane creates the structural expressions for the work — and provided the work is presented in a flattened 2D form for observation — it is a consequence of the aesthetic thought.
It is the curved nature of the membrane that creates the structural interpretations — and when the work is presented in a flattened 2D form for observation — the trajectory path appears to be different.
Curled phase
The trajectory path (broken line) of the drill hole follows a short and straight path in complete space (unseen).
Flattened phase When the curl is unravelled, the trajectory path (broken line) remains the same as it was above. Yet the path seems longer, goes back in time and appears networked differently when we observe it from this (human) viewpoint.
‘I’m inclined to think that…the 3D world is an illusion. The ultimate precise reality is the 2D reality on the surface of the universe’, Leonard Susskin*
*Source: What is space? 48:30s, 2015 www.youtube.com Note 1: The holes (3 white marks on the membrane surface) should be viewed as the vectors created within the field. They aren’t necessarily the particles themselves but the negative space that’s require for them to exist on the 2D surface.
Note 2: A second phase dimension has been neglected from these diagrams.
The photograph above is of my working notes which appears on the reverse side of my ‘Highly Commended’ art piece, Lithium mesh. Although you will not see this side of it on display at the prestigious Waterhouse Natural Science Art Prize 2016 exhibition – it shows my thoughts and the science of my working method. For more information about the science behind it, see the following blog (Proton brushstrokes) or download the PDF file Quantum brushstrokes
Artist statement of work: Lithium mesh Quarks & leptons are the building blocks of matter — I’ve created a series of events, using curls & waves, that interpret a geometric construct of a particle’s properties. The curved structures create a framework that allows for connections and entangled systems to manifest. Finally the surface is flattened to 2D-form for observation. The viewer experiences the unravelled results — challenging perceptions that things are often not what they appear to be — a tangible expression of how nature at the very small scale may be formed, by complicated structures and events that are concealed from us.
I’m inclined to think that… ‘the 3D world is an illusion. The ultimate precise reality is the 2D reality on the surface of the universe’, Leonard Susskin*
*Source: What is space? 48:30s, 2015 www.youtube.com
Note: A second phase dimension has been neglected from this diagram. Download the PDF file Quantum brushstrokes for more.
The Observer recently wrote a very interesting article titled, Are Painters out of ideas? In it they suggest that they are, ‘as it is just too difficult to be truly original with paint these days.’
Of course, ‘mimicry—either the naive or purposeful kind—is not new, nor is it illegal.’ But what caught my attention was the statement, ‘that there are only so many variants of color, brushstroke and composition to discover, especially once you get into formal abstraction. And in fact, the art world had seen an explosion of simplistic wall works over its recent boom years, many of which rehashed post-Minimalist or process-based ideas from the ’60s and ’70s in order to produce a high yield of nearly indistinguishable abstractions.’
While I essentially agree with the premise of this, I don’t agree that all has been explored. I believe what I call the ‘quantum brushstrokes’ opens a door to abstraction that is not borrowing, stealing, appropriating, or copying from the past. It is authentic, real and relevant to anyone, like me, who has a keen interested in expressing the aesthetics of our natural universe.
It seems to me that the efficiency of creating this diptych (Carbon 12) is a clue as to why life forms are favoured towards a carbon-based structure. This painting was completed with only 6 drill holes and 3 saw cuts as one entangled expression, yet we can observe — a sea of 72 quarks (holes) and a cloud of 39 electrons (cuts).
About the painting: Created as a series of quantum brushstrokes, it interprets the geometric construct of the respective particles properties, ie, protons, neutrons, electrons. The various curved structures create a framework that allows for connections and entangled systems to manifest. Finally the surface is flattened to the 2D-form for observation. The viewer experiences the unconcealed and simplified results rather than an accrual of the method used – a possible model of how the natural world is formed, even at a tiny scale, by complicated structures and events.
For more see Carbon 12 (network) in the flesh at my latest exhibition:
Visual entanglement
FutureSpace Gallery
RiAus, 55 Exchange Place
Adelaide SA 5000
10am to 5pm, Monday to Friday
on until 3 June 2016
This is an attempt to express a classical interpretation of how fundamental particles may have evolved. Also it tries to address some of the principle questions about why certain particles and initial conditions have been favourable for life to evolve while others have not.
I must emphasise that this aesthetic interpretation has not been tested or verified in any way, shape or form (it’s a ‘fruitloopery’ interpretation from a fringe dweller). Nevertheless it is an invitation to think about what fundamentally cannot be actually directly observed – a quantum particle (not yet anyhow). Therefore the aim is to provide a platform for a visual dialogue that postulates current particle physicists theories, so that we may then have a tactile understanding of their thinking and subsequent discoveries. Afterall, developing bite-size visual queues is a particularly humanistic quality beneficial for understanding our world and each other. Without that, the practical implications may not be as readily realised.
At the same time, this is an extension into the art practice I call, Membrane Art — that is, how geometric curves provide the framework for events to manifest and evolve, yet the flat picture plan is an agent of how we observe them — necessary to help us analyse and contemplate what has happened.
I trust that with further understandings this aesthetic practice will evolve and be further enhanced in time.
The building blocks of matter are made up of two kinds of brushstroke expressions:
Quark brushstrokes : Quarks are represented by drill holes created on a particular kind of curl (strong interactions) — a quark is a tiny particle which makes up protons and neutrons.
Electron brushstrokes: Electrons (leptons) are represented by saw cuts created on a wavy surface (electromagnetic interactions).
Whichever brushstroke expression is used the similarities to the way a brushstroke mark is made on a flat plane remains the same — there is initial contact, movement across and then an exit off the surface.
Note: The saw cuts and drill holes are vector spaces left behind within the field and not the particles themselves. That eventuates as a consequence of it.
Quark brushstroke
Favourable curled structures The curled membrane represents the geometry of the strong field needed to create the particles that interact with it. The drill holes produced on this curvature structure is similar to the way a brushstroke mark is made on a flat plane – there is initial contact, movement across and then an exit off the surface.
Strong interactions
1: This side view of a curled membrane represents how strong interactions are created. One drill hole can express a multiple flavours of quarks. When entry occurs at the point where two convex surfaces are close together and the exited point is a concave structure – a proton is created (two up / one down).
2: If the curl is spun 180° (half spin) then a different set of events occur. When entry occurs at one convex structure and the exit point is at two concave structures that are close together – a neutron is created (two down / one up).
3: Flat view: The aesthetic is realised when the membrane is opened out and the depth is compressed. Nothing disappears, it just changes form. This generates the human visual experience, a metaphor for how we perceive.
Working hypothesis Quarks eventuate out of the six different spacial geometries as shown above (3 proton-style quarks, 3 neutron-style quarks). In practice, however, vector fields that holds the quarks are often malformed at the time of creation. It doesn’t matter that the same drill-bit size was used to cut through all the various curvature constructs, you can expect variations to size to occur. Whether or not this is due to the condition of the tool used, extra debris or other surface conditions allows for a multitude of variations to manifest. Nature is fickle, so if quarks are created in this way then you can expect that given time (billions of years or so) decay or other high entropy processes may then ‘clean up’ the vector spaces to allow for a more full-bodied quark type to evolve and become favourable for atom formation.
Electron brushstroke
Favourable wave structures The wave membrane represents the geometry of the electromagnetic field needed to create the particles that interact with it. The saw cuts on this curvature structure is similar to the way a brushstroke mark is made on a flat plane – there is initial contact, movement across and then an exit off the surface.
Electro/magnetic interactions
1: This side view of a wave membrane represents the electromagnetic field. The geometric relationship creates ‘hidden’ structures for the work.
2: This shows how one expression (a cut made by the circular saw) can appear to be in two places at the same time.
3: Flat view: The aesthetic is realised when the depth is compressed. Nothing disappears – it just changes form. This generates the human visual experience, a metaphor for how we perceive.
Working hypothesis The saw cuts and drill holes are vectors created within the field and don’t necessarily represent the particles themselves. Smaller sedimentary-style matter (strings) may fill the void left behind to create the so-called elementary particle. In practice, for entangled (networks) to occur, electron brushstrokes by default might contain more parts or substructures then the ones we know. For example, the bottom fold which contains no cut, is still a part of the overall structure. It creates the visual connection (distance) between two saw cut expressions when we observe them on the flat plane.
I have not considered the scale differences between leptons and quarks in the development of this work. Curled structures might have eventuated before wave structures. They may simply be a by-product of curled up ones.
Creating atoms (protons, neutrons, electrons)
with second phase dimensions
Favourable particles We can now use both drill holes and saw cuts to create vectors and other interactions on the surface of the membranes. To create entangled (networks) a second phase dimension is hidden within the geometry of the curvature constructs at the time of creation. In practice, this second phase dimension must be large enough so that it can be held in place by the outer dimension at the time of creation — too small, it misses, rolls around inside and remains unconnected.
1: This electron was created with additional hidden structures (phase dimension) to express a ‘cloud of electrons’ that are entangled as one expression as seen on the opened out perspective.
2: Multiple quarks can be created with additional hidden structures (phase dimension) to express a ‘sea of quarks’ that are entangled (networked) as one expression as shown on the opened out perspective.
3: Flat viewpoint – all sorts of expressive combinations can be created with quantum brushstrokes that relate to fundamental particle formations. Yet the flat picture plane is necessary to help us analyse and contemplate what has happened.
Working hypothesis
If the same size drill-bit and saw blade is used to cut through all phase dimensions then it could be that the hidden dimensions is as large (possibly tighter and more fragile) then the dimensions we know. For entanglement to occur, particles by default must clump together to form stable groups. So when smaller sedimentary-style matter (strings) fill the space left behind they may entangle with all phase dimensions as one expression.
For more see:
Visual entanglement
FutureSpace Gallery
RiAus, 55 Exchange Place
Adelaide SA 5000
10am to 5pm, Monday to Friday
on until 3 June 2016
