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Latest works (2015-24+)

...Purchase? See here for paintings in the TPISC series.
"TPISC V: Details (The Pythagorean Inverse Square Connection: Mersenne Prime Squares (MPS))" (2021-24+).

Following the work from the ArtTheory101 White Papers pages 66-72+ are paintings that transition from TPISC IV (Goldbach Conjecture) to TPISC V: Mersenne Prime Squares (MPS). to MAP Index******************************
"TPISC IV: Details (The Pythagorean Inverse Square Connection: Details)" (2018-20).

TPISC IV: Details 1-10
Following the work from the ArtTheory101 White Papers pages 43-44 are 10 paintings: "looking for a connection between the 3-4-5 Pythagorean Triple and the concentric, decagons (double pentagons) that form the geometric structure of the DNA double-helix molecule as viewed down its axis composited from 1 full, 360 degree spiral. While emphatically NOT AN EXACT MATCH, the 3-4-5 PT is ridiculously close to being an exact match both from the the angles of a given pentagon to that of the decagon and most especially connecting key angles and vertices between the concentric decagons."

TPISC IV: Details 11-20
Amongst a myriad of other connections, there exist an intimate connection between three number systems:
  • 1. The ISL as laid out in the BIM;                                       
  • 2. PTs — and most especially PPTs — as laid out on the BIM;
  • 3. The PRIME numbers — PRIMES — as laid out on the BIM.

  • The BIM is the FIXED GRID numerical array of the ISL.
    Amongst its vast array of inter-connecting Number Pattern Sequences (NPS) — i.e., number systems — two such systems stick out and do so in such an overtly visual — as well as mathematical — way that their connection to each other is more than implied.
    You see, both the PPTs and PRIMES strictly align themselves on the SAME paths within the BIM..

    Furthermore, by distilling the BIM to Sub-Matrix 2 — i.e., every number across a Row is progressively divided by a growing sequence series starting with the Col. 1 as the Axis number - 1 — every such serial-exponential PPT is clearly predicted by its neighbors within the sequence. One more example of the extremely intimate relationship between The Pythagorean - Inverse Square Connection (TPISC).

    One simply can not ignore how the PRIMES, the PTs and ultimately the ISL define the architecture of SpaceTime!

    In the original MathspeedST, an artificial division was made, separating the content into:
  • A. TAOST, The Architecture Of SpaceTime,    
  • B. TCAOP, The Complete Absence Of Primes.

  • Now we have come full circle.

    ALL PRIMES and ALL PPTs follow — although individually with their own respective footprints — the SAME, HIGHLY PATTERNED NPS path on the BIM.

    + - + - - - + - + - - - + - + - - - + - + - - - + - + - - -

    feel the beat!

    TPISC IV: Details 21-30
    These works reflect an interpretive view of what the BIM mathematics is saying about our physical world — the Universe(s).

    The Creation and Conservation of SpaceTime (CaCoST) has been central to earlier work, including "LightspeedST."

    Now it has come together with a re-examination of the Double-SLIT Experiment (DSE), and, Quantum Entanglement (QE) in the form of a conjecture: the Double-Slit Experiment-Quantum Entanglement Conjecture. The white papers include:


    CaCoST — Creation and Conservation of SpaceTime

    That are part of: TPISC_IV:_Details ~A MathspeedST Supplement~

    All of which can be found under:

    TPISC — MathspeedST -->BBS-ISL Matrix media center

    + - + - - - + - + - - - + - + - - - + - + - - - + - + - - -

    feel the beat!

    TPISC IV: Details 31-52
    For some, math is the abstraction. For others, math is the reality, and "our reality" is the abstraction. TPISC (The Pythagorean-Inverse Square Connection) reveals an intimate and ubiquitous relationship with the Inverse Square Law - Pythagorean Triples — and now — PRIMES.
    The "Math Reality" is that this simple matrix of the Inverse Square Law ALSO provides a graphical means to reveal ALL the NO-PRIMES amongst ALL the PRIMES — very much like the negative space informing the positive! Here, the numerical pattern of the differences in the NO-PRIMES is the focus.
    Identifying the PRIMES (P) from the NO-PRIMES (NP) from the pool of ODD numbers is a matter of separation, as one defines the other. Here the 1st Diagonal — running on either side of the central prime diagonal — contains all the ODDs.
    Below that, ALL the NP are revealed.
    So what is the significance of capturing ALL the NP?
    The NP define the elusive pattern of the P.
    P + NP = ALL ODD WINs (≥ 3). The white papers include:

    Simple Path: BIM - PRIMES


    That are part of: TPISC_IV:_Details ~A MathspeedST Supplement~

    All of which can be found under:

    TPISC — MathspeedST -->BBS-ISL Matrix media center

    + - + - - - + - + - - - + - + - - - + - + - - - + - + - - -

    Sublimation Of the Grid some 72+ works

    As my Math--Art--Physics (MAP) journey includes artworks that reflect back, as well as (hopefully) inspire forth, the bookends of science, I have been busy here, too, while shuttered in during the Covid Pandemic of 2020. What started as ambitious new directions in painting on various metals soon gave way to digital painting as my supplies dwindled (as did, curiously, my time). The new series generated -- "Sublimation of the Grid"-- came, I think, as a response to the rigid geometry of the BBS-ISL Matrix grid that describes the math of the Inverse Square Law, Pythagorean Triples, and the PRIMES. It comes on the heels of an earlier series called "Grids Without Borders." An old theme -- chaos is little more than unrecognized order -- seems to percolate its way into just about everything! Pattern underlies it all. to MAP Index******************************
    "TPISC III: Clarity (The Pythagorean — Inverse Square Connection: Advanced)" (2017-18).
    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.

    The Tree of Primitive Pythagorean Triples (ToPPT) has been definitely defined as it expands infinitely with the BBS-ISL Matrix (BIM). The geometry describing the inter-connections between the Tertiary Branches/Levels and the Clusters that make them up is remarkable!

    "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.

    2013, saw the 1st update as “Your sFace or Mine, Anonymity”, in which the broader acceptance of “individual” was first and foremost.

    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 (2015-24). Desert-, Beach- & River-scapes. All plein air or plein air followups, acrylic on canvas/Dura Lar paintings (12"x16"). Some Brush & Ink with digital overlays. (Exceptions noted.) Also desert panoramas and low-tide beach photos.


    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 sensibilityto 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 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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