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BIO+ DRAWING NEW MEDIA PAINTING SCULPTURE
 paintings index    Latest (2015-17+)    New (2004-14)   Recent (2000-2003)   Old (1999 and earlier) 
   
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Latest works (2015-17+)

 
"TPISC II: The Pythagorean — Inverse Square Connection: Advanced" (2017).
There is a simple whole number (integer) matrix grid table upon — and within — that every possible whole number Pythagorean Triangle — a.k.a. Pythagorean Triple — can be placed, and proved. The BBS-ISL matrix is an infinitely expandable grid that reveals ALL Pythagorean Triples — both Primitive Triples (PPT) and their non-Primitive multiples (nPTT). An extremely simple geometric AREA proof of the Pythagorean Theorem — c2=a2+b2 — is built into the BBS-ISL matrix.

Not only does the Inverse Square Law describe, define and quantify our most important energies (and their expressions as force)— gravity, light, sound, electromagnetism... — the BBS-ISL matrix grid is composed of Pythagorean Triples crisscrossing over much of the entire grid. An intimate inter-connection way beyond a simple, casual association has been revealed. The Dickson Method confirms, validates and provides insight into the generation of ALL Pythagorean Triples.

 
"TPISC I (The Pythagorean-Inverse Square Connection)" (2016).Multi-layered acrylic on unstretched, woven linen painting. The weave of space-time informed by the Inverse Square Law has another trick up its sleeve — Pythagorean Triangles. Every parent and child Pythagorean Triple inter-connects with the infinitely unfolding ISL matrix. The rigidity of fixed borders is transformationally projected into the curved space-time we inhabit.

 
The "HHYSMF" series (2015-17). Becoming, accepting and loving oneself and others for who and what they are. In 2004, “Your sFace or Mine?”, a new media net art project was presented, centered around the concept of cloning and identity.
http://www.brooksdesign-ps.net/Reginald_Brooks/Code/Html/5face/netart6.htm

2013, saw the 1st update as “Your sFace or Mine, Anonymity”, in which the broader acceptance of “individual” was first and foremost.
http://www.brooksdesign-ps.net/Reginald_Brooks/Code/Html/5face/netart15.htm

In the current work, Update 2, “Your sFace or Mine?” has morphed into “HHYSMF=Honey, Have You Seen My Face?” in which the even broader concepts of acceptance of the “individual” within the broader construct of the “social fabric” of our times has become the enlightenment issue of our times! This work is still in progress as the 800+ images and videos are incorporated into an interactive digital picture frame (the frame, itself, embedded within a walnut and copper sculpture form).

HHYSMF (2017) will be presented in several forms. As mentioned above, one will be in the sculpture, the other will be online. A webpage, similar to the 2004 & 2013 “Your sFace or Mine?” works will be created to bring the total experience to all with digital access. In the meantime, there are a couple of short videos of the work in progress. The entire archive of the digital paintings and collages are available for viewing.

 
The "Color Studies" series (2015-17). Desert-, Beach- & River-scapes. All plein air or plein air followups, acrylic on canvas paintings (12"x16"). (Exceptions noted.)

 

New works (2004-14)

 
The "Johshua Tree" series (2014).150+ Joshua Tree "color studies"-acrylic on canvas and mixed-media digital collage-acrylic on canvas overlay paintings.

 
The "Color Studies" series (2014).10 Palm Desert "-scapes"-acrylic on canvas paintings.

 
The "Emergence" series (2013).Diptych-acrylic on canvas scroll paintings.

Édouard Manet's, "Berthe Morisot with a Bouquet of Violets" (1872)  anchors "Emergence, I and II."


Manet's  "Déjeuner sur l'herbe" ("Luncheon on the Grass") (1862) and "Olympia" (1863) are considered pivotal works challenging the esthetic, and the attendant attitudes, of the male gaze...pre-dating the Women's Liberation Movement  by  a century.


Berthe Morisot was a well-regarded impressionist painter who exchanged artistic sensibilities with Manet, who later became her brother-in-law.


"Emergence" brings that sensibility  to our unabashed post-modern...or is it post-post-modern...view of the world. Progress, as is so often the case, occurs in waves. The pulse-propagating form of the painting diptych depicts the rhythmic and granular presentation of  SpaceTime...from obscurity to presence and back to obscurity. Emergence is thus a continuing theme whose evolution, advancement and inevitability mark the present presence...whenever it may be.


"Emergence" consists of two acrylic on canvas works of the same dimensions and referred to as "Emergence, I" and "Emergence, II." Each represents a "wave" of western cultural attitudes...a sort of "then" and "now." The work was conceived and painted as a whole. The actual hanging of the two works does not preclude them from being displayed apart. Hopefully not too far apart so that their resonance is kept alive.


 
The "Color Studies" series (2013).8 Palm Desert "-scapes"-acrylic on canvas paintings, and, 9 Whitewater "panoramascapes"-photos, and 7 Manzanita from Neahkahnie "beachscapes"-acrylic on board or canvas.

 
"Sunspots & Solar Flares series (2011-12). 24 "Sunspots & Solar Flares" acrylic + encaustic paintings (some with scratchboards) that may be interchangeably arranged into 6 4-panel sets, AND, 50 "Solar Flares...pas de deux"-acrylic on canvas paintings (some from the 2008 "Color Studies" series).

While the individual panels of these paintings are designed to be both interchangeable and dynamically related to each other as a whole in their display possibilities...i.e. the configuration of the negative space between them is a major creative variable. The 50 "Solar Flares...pas de deux" diptychs have been grouped into 5 Array sets to further the conversation between the works, the space and the ensuing dance.

This entire series of works is tightly linked to the ideas behind the New Media net.art projects "The Geometry of Music Color" and "Brooks (Base) Square & the Inverse Square Law (ISL)." (above)

 
The "Color Studies" series (2012).7 Palm Desert "-scapes"-acrylic on canvas paintings, and, 6 Manzanita "beachscapes"-acrylic on board.

 
The "Color Studies" series (2009-11).5 Lincoln City "beachscapes, 2 "Black Butte" treescapes & 4 Manzanita Beach"-acrylic on canvas paintings.

 
The "Color Studies" series (2008). 15 "Solar Flares" and 2 Lincoln City "beachscapes"-acrylic on canvas paintings.

 
The "~breathe~ A Celebration of Women" series (2008). 20 digital-acrylic-encaustic multi-layered mixed-media paintings.

 
The "Color Studies" series (2007). 5 acrylic on canvas/board paintings, including 4 more Neskowin seascapes.

 
The "Color Studies" series (2006). 56 acrylic on canvas/board paintings, including 11 more Neskowin seascapes.

 
The "Infinite Dimensions" series (2005). A room with a view...within a room with a view...within a room with a view. 10 digital-acrylic-encaustic multi-layered paintings (six with scratch boards).

 

Recent works (2000-03)

 
"A Void" series- works from "9-11". Ten digital-acrylic-encaustic multi-layered, multi-media paintings.

 
"The E-P Series". Ten "Einstein-Picasso" digital-encaustic with scratchboard multilayered paintings.

 
"Other Works". Four simple seascapes painted at Neskowin Beach, Oregon in 2001.

 

Old works (1999 and earlier)

 
"Dance Number Appendage: A Surrealistic Look At Patterns in Dance and Numbers" (1997). This body of work combines acrylic paintings on shaped canvas with scratchboard.

 
"Lucy:Contemporary Reflections on Paleonathropologic Findings",1996. This body of work combines acrylic paintings, black Sumi ink and silk on unprimed canvas which has been slightly stretched over dowels in a scroll-like fashion...with the dowels being inclosed within a rectangular frame. The series consist of 12 paintings and 12 sculptures (see "sculpture" above). Four paintings are shown.

 
"Line.Surface.Volume" (1996-select works) . A select number of individual oil and acrylic on canvas/board works from the geometric period are shown from this mini-retrospective.

 
"A Search for the Multicultural Mythology of Our Times", 1991-95. This body of intuitive work combines black Sumi ink on unprimed, unstretched canvas...mounted as scrolls.

 

   
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