A Theory of Everything (1)
To think about human beings and our relationship to the cosmos can often lead to far-fetched and even mind-boggling speculation. The more data we uncover about the universe, the more fantastic our situation appears. Information and discovery alters our understanding of metaphysics and religion; it causes us to re-evaluate our position and role in the scheme of things. Yet the question remains: How can we possibly know anything about ourselves without knowing our origins? Time and timelessness, multiple universes and other dimensions, the origin and fate of our universe—these are but a few of the life-changing topics that cosmologists and physicists are investigating. Presenting material of this sort in an artistic context is fraught with problems, but my desire for awe and mystery overpowers common sense and fear of embarrassment.
I have titled my current series of paintings “A Theory of Everything.” I am referencing ideas that have been discussed by cosmologists and astrophysicists: the creation of a theory that can unify the theory of general relativity and quantum mechanics. However, I have used the phrase in a more general and creative way to suggest a world where I can explore the relationship of humans to the cosmos. In my recent work I create an imaginary space where scale can be manipulated and the sense of time can be compressed. By juxtaposing the world of the very large (macrocosm) and the world of the very small (microcosm), I can create analogies between celestial bodies and microorganisms. I can also pretend to view the universe sub specie aeternitatis, or from the perspective of eternity, by presenting cosmological events from the distant past with fully evolved humans from our own time. In this way, past, present, and future can be condensed into a magical pictorial setting.
The circular format of the work was chosen because of its reference to telescopes, microscopes and mandalas. These images from science and religion can more easily coexist in an artistic context than they can in the rational world. Of course, many cultures consider the circle a symbol for eternity, so it seemed appropriate to use this format in order to represent the universe. In addition to astronomical images and microorganisms, I also depict objects of nature and the human figure. Presenting a plethora of creatures from the natural world (both extinct and surviving) speaks to the evolutionary processes that formed humans. For such processes to reach the current stage, they require vast amounts of time that are almost inconceivable for the human mind. Like Kant’s antinomies, thoughts of this sort are perhaps more than the imagination can comprehend; they end in contradictions and yet hold the potential to stimulate new and original thinking.
Many Worlds
In my recent work, I attempt to present not only images from astronomy and microbiologybutalso from the realm of quantum physics. One of the most interesting areas I have researched is the existence of alternate universes and other dimensions. In the past, ideas like these were met with ridicule and were relegated to the realm of fantasy and science fiction. However, since that time, a revolution in contemporary science has taken place that inspired my artwork.
The ideas of theoretical physicist Michio Kaku have been in the vanguard of speculation on the subject of parallel universes. In his book,Hyperspace, Michio Kaku discusses the idea of dimensions that might exist beyond the commonly accepted four of space and time. He states, “There is a growing number of physicists worldwide, including several Noble Laureates, that believe that the universe may exist in higher dimensional space.” Like Einstein, Kaku bases many of his insights into alternate universes on visual images. He writes about observing a gold fishpond at the famous Japanese Tea Garden in San Francisco and allowing his imagination to wander. He thought about the fish in the pond and what their world must look like. He speculates:
“Living their entire lives in the shallow pond, the carp would believe that their universe consisted of murky water and the lilies. Spending most of the time foraging on the bottom of the pond, they would only be dimly aware that an alien world could exist above the surface. The nature of my world was beyond their comprehension.”
Kaku also writes extensively about the relationship between literature and science, particularly as explored by the authors of children’s literature. He points to the work of Oxford mathematician Lewis Carroll for incorporating strange mathematical ideas into his writing. Kaku refers to texts such asAlice in Wonderland, the Wizard of Oz and Peter Pan as examples of art that have explored parallel universes in a literary context.
Further connections between fantasy literature and science became evident when physicists recognized the importance of author Jorge Luis Borges and his book The Garden of Forking Paths. Physicists recognized parallels between Borges’ notion of simultaneous realities and the fact that certain subatomic particles could be in more than one place at a time. The idea of multiple universes and other dimensions is no longer a silly idea but something that has been intuited by artists and authors and studied by physicists.
Many of the insights from Michio Kaku’s book influenced me to think about different ways to represent the idea of a universe filled with strange and unusual possibilities. His writing also inspired me to use the human figure as a kind of Alice in Wonderland character. The female figures in my paintings are usually asleep, dreaming or daydreaming, which allows them to enter a fantastic world where astronomical forms coexist with microscopic or subatomic particles together in the same magical space. In this way, I hope to create an art that encompasses scientific inquiry and magical thinking.
(Medium: oil on panel)
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A Theory of Everything (2)
To think about human beings and our relationship to the cosmos can often lead to far-fetched and even mind-boggling speculation. The more data we uncover about the universe, the more fantastic our situation appears. Information and discovery alters our understanding of metaphysics and religion; it causes us to re-evaluate our position and role in the scheme of things. Yet the question remains: How can we possibly know anything about ourselves without knowing our origins? Time and timelessness, multiple universes and other dimensions, the origin and fate of our universe—these are but a few of the life-changing topics that cosmologists and physicists are investigating. Presenting material of this sort in an artistic context is fraught with problems, but my desire for awe and mystery overpowers common sense and fear of embarrassment.
I have titled my current series of paintings “A Theory of Everything.” I am referencing ideas that have been discussed by cosmologists and astrophysicists: the creation of a theory that can unify the theory of general relativity and quantum mechanics. However, I have used the phrase in a more general and creative way to suggest a world where I can explore the relationship of humans to the cosmos. In my recent work I create an imaginary space where scale can be manipulated and the sense of time can be compressed. By juxtaposing the world of the very large (macrocosm) and the world of the very small (microcosm), I can create analogies between celestial bodies and microorganisms. I can also pretend to view the universe sub specie aeternitatis, or from the perspective of eternity, by presenting cosmological events from the distant past with fully evolved humans from our own time. In this way, past, present, and future can be condensed into a magical pictorial setting.
The circular format of the work was chosen because of its reference to telescopes, microscopes and mandalas. These images from science and religion can more easily coexist in an artistic context than they can in the rational world. Of course, many cultures consider the circle a symbol for eternity, so it seemed appropriate to use this format in order to represent the universe. In addition to astronomical images and microorganisms, I also depict objects of nature and the human figure. Presenting a plethora of creatures from the natural world (both extinct and surviving) speaks to the evolutionary processes that formed humans. For such processes to reach the current stage, they require vast amounts of time that are almost inconceivable for the human mind. Like Kant’s antinomies, thoughts of this sort are perhaps more than the imagination can comprehend; they end in contradictions and yet hold the potential to stimulate new and original thinking.
Many Worlds
In my recent work, I attempt to present not only images from astronomy and microbiologybutalso from the realm of quantum physics. One of the most interesting areas I have researched is the existence of alternate universes and other dimensions. In the past, ideas like these were met with ridicule and were relegated to the realm of fantasy and science fiction. However, since that time, a revolution in contemporary science has taken place that inspired my artwork.
The ideas of theoretical physicist Michio Kaku have been in the vanguard of speculation on the subject of parallel universes. In his book,Hyperspace, Michio Kaku discusses the idea of dimensions that might exist beyond the commonly accepted four of space and time. He states, “There is a growing number of physicists worldwide, including several Noble Laureates, that believe that the universe may exist in higher dimensional space.” Like Einstein, Kaku bases many of his insights into alternate universes on visual images. He writes about observing a gold fishpond at the famous Japanese Tea Garden in San Francisco and allowing his imagination to wander. He thought about the fish in the pond and what their world must look like. He speculates:
“Living their entire lives in the shallow pond, the carp would believe that their universe consisted of murky water and the lilies. Spending most of the time foraging on the bottom of the pond, they would only be dimly aware that an alien world could exist above the surface. The nature of my world was beyond their comprehension.”
Kaku also writes extensively about the relationship between literature and science, particularly as explored by the authors of children’s literature. He points to the work of Oxford mathematician Lewis Carroll for incorporating strange mathematical ideas into his writing. Kaku refers to texts such asAlice in Wonderland, the Wizard of Oz and Peter Pan as examples of art that have explored parallel universes in a literary context.
Further connections between fantasy literature and science became evident when physicists recognized the importance of author Jorge Luis Borges and his book The Garden of Forking Paths. Physicists recognized parallels between Borges’ notion of simultaneous realities and the fact that certain subatomic particles could be in more than one place at a time. The idea of multiple universes and other dimensions is no longer a silly idea but something that has been intuited by artists and authors and studied by physicists.
Many of the insights from Michio Kaku’s book influenced me to think about different ways to represent the idea of a universe filled with strange and unusual possibilities. His writing also inspired me to use the human figure as a kind of Alice in Wonderland character. The female figures in my paintings are usually asleep, dreaming or daydreaming, which allows them to enter a fantastic world where astronomical forms coexist with microscopic or subatomic particles together in the same magical space. In this way, I hope to create an art that encompasses scientific inquiry and magical thinking.
(Medium: oil on panel)
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A Theory of Everything (3)
To think about human beings and our relationship to the cosmos can often lead to far-fetched and even mind-boggling speculation. The more data we uncover about the universe, the more fantastic our situation appears. Information and discovery alters our understanding of metaphysics and religion; it causes us to re-evaluate our position and role in the scheme of things. Yet the question remains: How can we possibly know anything about ourselves without knowing our origins? Time and timelessness, multiple universes and other dimensions, the origin and fate of our universe—these are but a few of the life-changing topics that cosmologists and physicists are investigating. Presenting material of this sort in an artistic context is fraught with problems, but my desire for awe and mystery overpowers common sense and fear of embarrassment.
I have titled my current series of paintings “A Theory of Everything.” I am referencing ideas that have been discussed by cosmologists and astrophysicists: the creation of a theory that can unify the theory of general relativity and quantum mechanics. However, I have used the phrase in a more general and creative way to suggest a world where I can explore the relationship of humans to the cosmos. In my recent work I create an imaginary space where scale can be manipulated and the sense of time can be compressed. By juxtaposing the world of the very large (macrocosm) and the world of the very small (microcosm), I can create analogies between celestial bodies and microorganisms. I can also pretend to view the universe sub specie aeternitatis, or from the perspective of eternity, by presenting cosmological events from the distant past with fully evolved humans from our own time. In this way, past, present, and future can be condensed into a magical pictorial setting.
The circular format of the work was chosen because of its reference to telescopes, microscopes and mandalas. These images from science and religion can more easily coexist in an artistic context than they can in the rational world. Of course, many cultures consider the circle a symbol for eternity, so it seemed appropriate to use this format in order to represent the universe. In addition to astronomical images and microorganisms, I also depict objects of nature and the human figure. Presenting a plethora of creatures from the natural world (both extinct and surviving) speaks to the evolutionary processes that formed humans. For such processes to reach the current stage, they require vast amounts of time that are almost inconceivable for the human mind. Like Kant’s antinomies, thoughts of this sort are perhaps more than the imagination can comprehend; they end in contradictions and yet hold the potential to stimulate new and original thinking.
Many Worlds
In my recent work, I attempt to present not only images from astronomy and microbiologybutalso from the realm of quantum physics. One of the most interesting areas I have researched is the existence of alternate universes and other dimensions. In the past, ideas like these were met with ridicule and were relegated to the realm of fantasy and science fiction. However, since that time, a revolution in contemporary science has taken place that inspired my artwork.
The ideas of theoretical physicist Michio Kaku have been in the vanguard of speculation on the subject of parallel universes. In his book,Hyperspace, Michio Kaku discusses the idea of dimensions that might exist beyond the commonly accepted four of space and time. He states, “There is a growing number of physicists worldwide, including several Noble Laureates, that believe that the universe may exist in higher dimensional space.” Like Einstein, Kaku bases many of his insights into alternate universes on visual images. He writes about observing a gold fishpond at the famous Japanese Tea Garden in San Francisco and allowing his imagination to wander. He thought about the fish in the pond and what their world must look like. He speculates:
“Living their entire lives in the shallow pond, the carp would believe that their universe consisted of murky water and the lilies. Spending most of the time foraging on the bottom of the pond, they would only be dimly aware that an alien world could exist above the surface. The nature of my world was beyond their comprehension.”
Kaku also writes extensively about the relationship between literature and science, particularly as explored by the authors of children’s literature. He points to the work of Oxford mathematician Lewis Carroll for incorporating strange mathematical ideas into his writing. Kaku refers to texts such asAlice in Wonderland, the Wizard of Oz and Peter Pan as examples of art that have explored parallel universes in a literary context.
Further connections between fantasy literature and science became evident when physicists recognized the importance of author Jorge Luis Borges and his book The Garden of Forking Paths. Physicists recognized parallels between Borges’ notion of simultaneous realities and the fact that certain subatomic particles could be in more than one place at a time. The idea of multiple universes and other dimensions is no longer a silly idea but something that has been intuited by artists and authors and studied by physicists.
Many of the insights from Michio Kaku’s book influenced me to think about different ways to represent the idea of a universe filled with strange and unusual possibilities. His writing also inspired me to use the human figure as a kind of Alice in Wonderland character. The female figures in my paintings are usually asleep, dreaming or daydreaming, which allows them to enter a fantastic world where astronomical forms coexist with microscopic or subatomic particles together in the same magical space. In this way, I hope to create an art that encompasses scientific inquiry and magical thinking.
(Medium: oil on panel)
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A Theory of Everything (4)
To think about human beings and our relationship to the cosmos can often lead to far-fetched and even mind-boggling speculation. The more data we uncover about the universe, the more fantastic our situation appears. Information and discovery alters our understanding of metaphysics and religion; it causes us to re-evaluate our position and role in the scheme of things. Yet the question remains: How can we possibly know anything about ourselves without knowing our origins? Time and timelessness, multiple universes and other dimensions, the origin and fate of our universe—these are but a few of the life-changing topics that cosmologists and physicists are investigating. Presenting material of this sort in an artistic context is fraught with problems, but my desire for awe and mystery overpowers common sense and fear of embarrassment.
I have titled my current series of paintings “A Theory of Everything.” I am referencing ideas that have been discussed by cosmologists and astrophysicists: the creation of a theory that can unify the theory of general relativity and quantum mechanics. However, I have used the phrase in a more general and creative way to suggest a world where I can explore the relationship of humans to the cosmos. In my recent work I create an imaginary space where scale can be manipulated and the sense of time can be compressed. By juxtaposing the world of the very large (macrocosm) and the world of the very small (microcosm), I can create analogies between celestial bodies and microorganisms. I can also pretend to view the universe sub specie aeternitatis, or from the perspective of eternity, by presenting cosmological events from the distant past with fully evolved humans from our own time. In this way, past, present, and future can be condensed into a magical pictorial setting.
The circular format of the work was chosen because of its reference to telescopes, microscopes and mandalas. These images from science and religion can more easily coexist in an artistic context than they can in the rational world. Of course, many cultures consider the circle a symbol for eternity, so it seemed appropriate to use this format in order to represent the universe. In addition to astronomical images and microorganisms, I also depict objects of nature and the human figure. Presenting a plethora of creatures from the natural world (both extinct and surviving) speaks to the evolutionary processes that formed humans. For such processes to reach the current stage, they require vast amounts of time that are almost inconceivable for the human mind. Like Kant’s antinomies, thoughts of this sort are perhaps more than the imagination can comprehend; they end in contradictions and yet hold the potential to stimulate new and original thinking.
Many Worlds
In my recent work, I attempt to present not only images from astronomy and microbiologybutalso from the realm of quantum physics. One of the most interesting areas I have researched is the existence of alternate universes and other dimensions. In the past, ideas like these were met with ridicule and were relegated to the realm of fantasy and science fiction. However, since that time, a revolution in contemporary science has taken place that inspired my artwork.
The ideas of theoretical physicist Michio Kaku have been in the vanguard of speculation on the subject of parallel universes. In his book,Hyperspace, Michio Kaku discusses the idea of dimensions that might exist beyond the commonly accepted four of space and time. He states, “There is a growing number of physicists worldwide, including several Noble Laureates, that believe that the universe may exist in higher dimensional space.” Like Einstein, Kaku bases many of his insights into alternate universes on visual images. He writes about observing a gold fishpond at the famous Japanese Tea Garden in San Francisco and allowing his imagination to wander. He thought about the fish in the pond and what their world must look like. He speculates:
“Living their entire lives in the shallow pond, the carp would believe that their universe consisted of murky water and the lilies. Spending most of the time foraging on the bottom of the pond, they would only be dimly aware that an alien world could exist above the surface. The nature of my world was beyond their comprehension.”
Kaku also writes extensively about the relationship between literature and science, particularly as explored by the authors of children’s literature. He points to the work of Oxford mathematician Lewis Carroll for incorporating strange mathematical ideas into his writing. Kaku refers to texts such asAlice in Wonderland, the Wizard of Oz and Peter Pan as examples of art that have explored parallel universes in a literary context.
Further connections between fantasy literature and science became evident when physicists recognized the importance of author Jorge Luis Borges and his book The Garden of Forking Paths. Physicists recognized parallels between Borges’ notion of simultaneous realities and the fact that certain subatomic particles could be in more than one place at a time. The idea of multiple universes and other dimensions is no longer a silly idea but something that has been intuited by artists and authors and studied by physicists.
Many of the insights from Michio Kaku’s book influenced me to think about different ways to represent the idea of a universe filled with strange and unusual possibilities. His writing also inspired me to use the human figure as a kind of Alice in Wonderland character. The female figures in my paintings are usually asleep, dreaming or daydreaming, which allows them to enter a fantastic world where astronomical forms coexist with microscopic or subatomic particles together in the same magical space. In this way, I hope to create an art that encompasses scientific inquiry and magical thinking.
(Medium: oil on panel)
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A Theory of Everything (5)
To think about human beings and our relationship to the cosmos can often lead to far-fetched and even mind-boggling speculation. The more data we uncover about the universe, the more fantastic our situation appears. Information and discovery alters our understanding of metaphysics and religion; it causes us to re-evaluate our position and role in the scheme of things. Yet the question remains: How can we possibly know anything about ourselves without knowing our origins? Time and timelessness, multiple universes and other dimensions, the origin and fate of our universe—these are but a few of the life-changing topics that cosmologists and physicists are investigating. Presenting material of this sort in an artistic context is fraught with problems, but my desire for awe and mystery overpowers common sense and fear of embarrassment.
I have titled my current series of paintings “A Theory of Everything.” I am referencing ideas that have been discussed by cosmologists and astrophysicists: the creation of a theory that can unify the theory of general relativity and quantum mechanics. However, I have used the phrase in a more general and creative way to suggest a world where I can explore the relationship of humans to the cosmos. In my recent work I create an imaginary space where scale can be manipulated and the sense of time can be compressed. By juxtaposing the world of the very large (macrocosm) and the world of the very small (microcosm), I can create analogies between celestial bodies and microorganisms. I can also pretend to view the universe sub specie aeternitatis, or from the perspective of eternity, by presenting cosmological events from the distant past with fully evolved humans from our own time. In this way, past, present, and future can be condensed into a magical pictorial setting.
The circular format of the work was chosen because of its reference to telescopes, microscopes and mandalas. These images from science and religion can more easily coexist in an artistic context than they can in the rational world. Of course, many cultures consider the circle a symbol for eternity, so it seemed appropriate to use this format in order to represent the universe. In addition to astronomical images and microorganisms, I also depict objects of nature and the human figure. Presenting a plethora of creatures from the natural world (both extinct and surviving) speaks to the evolutionary processes that formed humans. For such processes to reach the current stage, they require vast amounts of time that are almost inconceivable for the human mind. Like Kant’s antinomies, thoughts of this sort are perhaps more than the imagination can comprehend; they end in contradictions and yet hold the potential to stimulate new and original thinking.
Many Worlds
In my recent work, I attempt to present not only images from astronomy and microbiologybutalso from the realm of quantum physics. One of the most interesting areas I have researched is the existence of alternate universes and other dimensions. In the past, ideas like these were met with ridicule and were relegated to the realm of fantasy and science fiction. However, since that time, a revolution in contemporary science has taken place that inspired my artwork.
The ideas of theoretical physicist Michio Kaku have been in the vanguard of speculation on the subject of parallel universes. In his book,Hyperspace, Michio Kaku discusses the idea of dimensions that might exist beyond the commonly accepted four of space and time. He states, “There is a growing number of physicists worldwide, including several Noble Laureates, that believe that the universe may exist in higher dimensional space.” Like Einstein, Kaku bases many of his insights into alternate universes on visual images. He writes about observing a gold fishpond at the famous Japanese Tea Garden in San Francisco and allowing his imagination to wander. He thought about the fish in the pond and what their world must look like. He speculates:
“Living their entire lives in the shallow pond, the carp would believe that their universe consisted of murky water and the lilies. Spending most of the time foraging on the bottom of the pond, they would only be dimly aware that an alien world could exist above the surface. The nature of my world was beyond their comprehension.”
Kaku also writes extensively about the relationship between literature and science, particularly as explored by the authors of children’s literature. He points to the work of Oxford mathematician Lewis Carroll for incorporating strange mathematical ideas into his writing. Kaku refers to texts such asAlice in Wonderland, the Wizard of Oz and Peter Pan as examples of art that have explored parallel universes in a literary context.
Further connections between fantasy literature and science became evident when physicists recognized the importance of author Jorge Luis Borges and his book The Garden of Forking Paths. Physicists recognized parallels between Borges’ notion of simultaneous realities and the fact that certain subatomic particles could be in more than one place at a time. The idea of multiple universes and other dimensions is no longer a silly idea but something that has been intuited by artists and authors and studied by physicists.
Many of the insights from Michio Kaku’s book influenced me to think about different ways to represent the idea of a universe filled with strange and unusual possibilities. His writing also inspired me to use the human figure as a kind of Alice in Wonderland character. The female figures in my paintings are usually asleep, dreaming or daydreaming, which allows them to enter a fantastic world where astronomical forms coexist with microscopic or subatomic particles together in the same magical space. In this way, I hope to create an art that encompasses scientific inquiry and magical thinking.
(Medium: oil on panel)
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A Theory of Everything (6)
To think about human beings and our relationship to the cosmos can often lead to far-fetched and even mind-boggling speculation. The more data we uncover about the universe, the more fantastic our situation appears. Information and discovery alters our understanding of metaphysics and religion; it causes us to re-evaluate our position and role in the scheme of things. Yet the question remains: How can we possibly know anything about ourselves without knowing our origins? Time and timelessness, multiple universes and other dimensions, the origin and fate of our universe—these are but a few of the life-changing topics that cosmologists and physicists are investigating. Presenting material of this sort in an artistic context is fraught with problems, but my desire for awe and mystery overpowers common sense and fear of embarrassment.
I have titled my current series of paintings “A Theory of Everything.” I am referencing ideas that have been discussed by cosmologists and astrophysicists: the creation of a theory that can unify the theory of general relativity and quantum mechanics. However, I have used the phrase in a more general and creative way to suggest a world where I can explore the relationship of humans to the cosmos. In my recent work I create an imaginary space where scale can be manipulated and the sense of time can be compressed. By juxtaposing the world of the very large (macrocosm) and the world of the very small (microcosm), I can create analogies between celestial bodies and microorganisms. I can also pretend to view the universe sub specie aeternitatis, or from the perspective of eternity, by presenting cosmological events from the distant past with fully evolved humans from our own time. In this way, past, present, and future can be condensed into a magical pictorial setting.
The circular format of the work was chosen because of its reference to telescopes, microscopes and mandalas. These images from science and religion can more easily coexist in an artistic context than they can in the rational world. Of course, many cultures consider the circle a symbol for eternity, so it seemed appropriate to use this format in order to represent the universe. In addition to astronomical images and microorganisms, I also depict objects of nature and the human figure. Presenting a plethora of creatures from the natural world (both extinct and surviving) speaks to the evolutionary processes that formed humans. For such processes to reach the current stage, they require vast amounts of time that are almost inconceivable for the human mind. Like Kant’s antinomies, thoughts of this sort are perhaps more than the imagination can comprehend; they end in contradictions and yet hold the potential to stimulate new and original thinking.
Many Worlds
In my recent work, I attempt to present not only images from astronomy and microbiologybutalso from the realm of quantum physics. One of the most interesting areas I have researched is the existence of alternate universes and other dimensions. In the past, ideas like these were met with ridicule and were relegated to the realm of fantasy and science fiction. However, since that time, a revolution in contemporary science has taken place that inspired my artwork.
The ideas of theoretical physicist Michio Kaku have been in the vanguard of speculation on the subject of parallel universes. In his book,Hyperspace, Michio Kaku discusses the idea of dimensions that might exist beyond the commonly accepted four of space and time. He states, “There is a growing number of physicists worldwide, including several Noble Laureates, that believe that the universe may exist in higher dimensional space.” Like Einstein, Kaku bases many of his insights into alternate universes on visual images. He writes about observing a gold fishpond at the famous Japanese Tea Garden in San Francisco and allowing his imagination to wander. He thought about the fish in the pond and what their world must look like. He speculates:
“Living their entire lives in the shallow pond, the carp would believe that their universe consisted of murky water and the lilies. Spending most of the time foraging on the bottom of the pond, they would only be dimly aware that an alien world could exist above the surface. The nature of my world was beyond their comprehension.”
Kaku also writes extensively about the relationship between literature and science, particularly as explored by the authors of children’s literature. He points to the work of Oxford mathematician Lewis Carroll for incorporating strange mathematical ideas into his writing. Kaku refers to texts such asAlice in Wonderland, the Wizard of Oz and Peter Pan as examples of art that have explored parallel universes in a literary context.
Further connections between fantasy literature and science became evident when physicists recognized the importance of author Jorge Luis Borges and his book The Garden of Forking Paths. Physicists recognized parallels between Borges’ notion of simultaneous realities and the fact that certain subatomic particles could be in more than one place at a time. The idea of multiple universes and other dimensions is no longer a silly idea but something that has been intuited by artists and authors and studied by physicists.
Many of the insights from Michio Kaku’s book influenced me to think about different ways to represent the idea of a universe filled with strange and unusual possibilities. His writing also inspired me to use the human figure as a kind of Alice in Wonderland character. The female figures in my paintings are usually asleep, dreaming or daydreaming, which allows them to enter a fantastic world where astronomical forms coexist with microscopic or subatomic particles together in the same magical space. In this way, I hope to create an art that encompasses scientific inquiry and magical thinking.
(Medium: oil on panel)
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A Theory of Everything (7)
To think about human beings and our relationship to the cosmos can often lead to far-fetched and even mind-boggling speculation. The more data we uncover about the universe, the more fantastic our situation appears. Information and discovery alters our understanding of metaphysics and religion; it causes us to re-evaluate our position and role in the scheme of things. Yet the question remains: How can we possibly know anything about ourselves without knowing our origins? Time and timelessness, multiple universes and other dimensions, the origin and fate of our universe—these are but a few of the life-changing topics that cosmologists and physicists are investigating. Presenting material of this sort in an artistic context is fraught with problems, but my desire for awe and mystery overpowers common sense and fear of embarrassment.
I have titled my current series of paintings “A Theory of Everything.” I am referencing ideas that have been discussed by cosmologists and astrophysicists: the creation of a theory that can unify the theory of general relativity and quantum mechanics. However, I have used the phrase in a more general and creative way to suggest a world where I can explore the relationship of humans to the cosmos. In my recent work I create an imaginary space where scale can be manipulated and the sense of time can be compressed. By juxtaposing the world of the very large (macrocosm) and the world of the very small (microcosm), I can create analogies between celestial bodies and microorganisms. I can also pretend to view the universe sub specie aeternitatis, or from the perspective of eternity, by presenting cosmological events from the distant past with fully evolved humans from our own time. In this way, past, present, and future can be condensed into a magical pictorial setting.
The circular format of the work was chosen because of its reference to telescopes, microscopes and mandalas. These images from science and religion can more easily coexist in an artistic context than they can in the rational world. Of course, many cultures consider the circle a symbol for eternity, so it seemed appropriate to use this format in order to represent the universe. In addition to astronomical images and microorganisms, I also depict objects of nature and the human figure. Presenting a plethora of creatures from the natural world (both extinct and surviving) speaks to the evolutionary processes that formed humans. For such processes to reach the current stage, they require vast amounts of time that are almost inconceivable for the human mind. Like Kant’s antinomies, thoughts of this sort are perhaps more than the imagination can comprehend; they end in contradictions and yet hold the potential to stimulate new and original thinking.
Many Worlds
In my recent work, I attempt to present not only images from astronomy and microbiologybutalso from the realm of quantum physics. One of the most interesting areas I have researched is the existence of alternate universes and other dimensions. In the past, ideas like these were met with ridicule and were relegated to the realm of fantasy and science fiction. However, since that time, a revolution in contemporary science has taken place that inspired my artwork.
The ideas of theoretical physicist Michio Kaku have been in the vanguard of speculation on the subject of parallel universes. In his book,Hyperspace, Michio Kaku discusses the idea of dimensions that might exist beyond the commonly accepted four of space and time. He states, “There is a growing number of physicists worldwide, including several Noble Laureates, that believe that the universe may exist in higher dimensional space.” Like Einstein, Kaku bases many of his insights into alternate universes on visual images. He writes about observing a gold fishpond at the famous Japanese Tea Garden in San Francisco and allowing his imagination to wander. He thought about the fish in the pond and what their world must look like. He speculates:
“Living their entire lives in the shallow pond, the carp would believe that their universe consisted of murky water and the lilies. Spending most of the time foraging on the bottom of the pond, they would only be dimly aware that an alien world could exist above the surface. The nature of my world was beyond their comprehension.”
Kaku also writes extensively about the relationship between literature and science, particularly as explored by the authors of children’s literature. He points to the work of Oxford mathematician Lewis Carroll for incorporating strange mathematical ideas into his writing. Kaku refers to texts such asAlice in Wonderland, the Wizard of Oz and Peter Pan as examples of art that have explored parallel universes in a literary context.
Further connections between fantasy literature and science became evident when physicists recognized the importance of author Jorge Luis Borges and his book The Garden of Forking Paths. Physicists recognized parallels between Borges’ notion of simultaneous realities and the fact that certain subatomic particles could be in more than one place at a time. The idea of multiple universes and other dimensions is no longer a silly idea but something that has been intuited by artists and authors and studied by physicists.
Many of the insights from Michio Kaku’s book influenced me to think about different ways to represent the idea of a universe filled with strange and unusual possibilities. His writing also inspired me to use the human figure as a kind of Alice in Wonderland character. The female figures in my paintings are usually asleep, dreaming or daydreaming, which allows them to enter a fantastic world where astronomical forms coexist with microscopic or subatomic particles together in the same magical space. In this way, I hope to create an art that encompasses scientific inquiry and magical thinking.
(Medium: oil on panel)
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A Theory of Everything (8)
To think about human beings and our relationship to the cosmos can often lead to far-fetched and even mind-boggling speculation. The more data we uncover about the universe, the more fantastic our situation appears. Information and discovery alters our understanding of metaphysics and religion; it causes us to re-evaluate our position and role in the scheme of things. Yet the question remains: How can we possibly know anything about ourselves without knowing our origins? Time and timelessness, multiple universes and other dimensions, the origin and fate of our universe—these are but a few of the life-changing topics that cosmologists and physicists are investigating. Presenting material of this sort in an artistic context is fraught with problems, but my desire for awe and mystery overpowers common sense and fear of embarrassment.
I have titled my current series of paintings “A Theory of Everything.” I am referencing ideas that have been discussed by cosmologists and astrophysicists: the creation of a theory that can unify the theory of general relativity and quantum mechanics. However, I have used the phrase in a more general and creative way to suggest a world where I can explore the relationship of humans to the cosmos. In my recent work I create an imaginary space where scale can be manipulated and the sense of time can be compressed. By juxtaposing the world of the very large (macrocosm) and the world of the very small (microcosm), I can create analogies between celestial bodies and microorganisms. I can also pretend to view the universe sub specie aeternitatis, or from the perspective of eternity, by presenting cosmological events from the distant past with fully evolved humans from our own time. In this way, past, present, and future can be condensed into a magical pictorial setting.
The circular format of the work was chosen because of its reference to telescopes, microscopes and mandalas. These images from science and religion can more easily coexist in an artistic context than they can in the rational world. Of course, many cultures consider the circle a symbol for eternity, so it seemed appropriate to use this format in order to represent the universe. In addition to astronomical images and microorganisms, I also depict objects of nature and the human figure. Presenting a plethora of creatures from the natural world (both extinct and surviving) speaks to the evolutionary processes that formed humans. For such processes to reach the current stage, they require vast amounts of time that are almost inconceivable for the human mind. Like Kant’s antinomies, thoughts of this sort are perhaps more than the imagination can comprehend; they end in contradictions and yet hold the potential to stimulate new and original thinking.
Many Worlds
In my recent work, I attempt to present not only images from astronomy and microbiologybutalso from the realm of quantum physics. One of the most interesting areas I have researched is the existence of alternate universes and other dimensions. In the past, ideas like these were met with ridicule and were relegated to the realm of fantasy and science fiction. However, since that time, a revolution in contemporary science has taken place that inspired my artwork.
The ideas of theoretical physicist Michio Kaku have been in the vanguard of speculation on the subject of parallel universes. In his book,Hyperspace, Michio Kaku discusses the idea of dimensions that might exist beyond the commonly accepted four of space and time. He states, “There is a growing number of physicists worldwide, including several Noble Laureates, that believe that the universe may exist in higher dimensional space.” Like Einstein, Kaku bases many of his insights into alternate universes on visual images. He writes about observing a gold fishpond at the famous Japanese Tea Garden in San Francisco and allowing his imagination to wander. He thought about the fish in the pond and what their world must look like. He speculates:
“Living their entire lives in the shallow pond, the carp would believe that their universe consisted of murky water and the lilies. Spending most of the time foraging on the bottom of the pond, they would only be dimly aware that an alien world could exist above the surface. The nature of my world was beyond their comprehension.”
Kaku also writes extensively about the relationship between literature and science, particularly as explored by the authors of children’s literature. He points to the work of Oxford mathematician Lewis Carroll for incorporating strange mathematical ideas into his writing. Kaku refers to texts such asAlice in Wonderland, the Wizard of Oz and Peter Pan as examples of art that have explored parallel universes in a literary context.
Further connections between fantasy literature and science became evident when physicists recognized the importance of author Jorge Luis Borges and his book The Garden of Forking Paths. Physicists recognized parallels between Borges’ notion of simultaneous realities and the fact that certain subatomic particles could be in more than one place at a time. The idea of multiple universes and other dimensions is no longer a silly idea but something that has been intuited by artists and authors and studied by physicists.
Many of the insights from Michio Kaku’s book influenced me to think about different ways to represent the idea of a universe filled with strange and unusual possibilities. His writing also inspired me to use the human figure as a kind of Alice in Wonderland character. The female figures in my paintings are usually asleep, dreaming or daydreaming, which allows them to enter a fantastic world where astronomical forms coexist with microscopic or subatomic particles together in the same magical space. In this way, I hope to create an art that encompasses scientific inquiry and magical thinking.
(Medium: oil on panel)
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A Theory of Everything (9)
To think about human beings and our relationship to the cosmos can often lead to far-fetched and even mind-boggling speculation. The more data we uncover about the universe, the more fantastic our situation appears. Information and discovery alters our understanding of metaphysics and religion; it causes us to re-evaluate our position and role in the scheme of things. Yet the question remains: How can we possibly know anything about ourselves without knowing our origins? Time and timelessness, multiple universes and other dimensions, the origin and fate of our universe—these are but a few of the life-changing topics that cosmologists and physicists are investigating. Presenting material of this sort in an artistic context is fraught with problems, but my desire for awe and mystery overpowers common sense and fear of embarrassment.
I have titled my current series of paintings “A Theory of Everything.” I am referencing ideas that have been discussed by cosmologists and astrophysicists: the creation of a theory that can unify the theory of general relativity and quantum mechanics. However, I have used the phrase in a more general and creative way to suggest a world where I can explore the relationship of humans to the cosmos. In my recent work I create an imaginary space where scale can be manipulated and the sense of time can be compressed. By juxtaposing the world of the very large (macrocosm) and the world of the very small (microcosm), I can create analogies between celestial bodies and microorganisms. I can also pretend to view the universe sub specie aeternitatis, or from the perspective of eternity, by presenting cosmological events from the distant past with fully evolved humans from our own time. In this way, past, present, and future can be condensed into a magical pictorial setting.
The circular format of the work was chosen because of its reference to telescopes, microscopes and mandalas. These images from science and religion can more easily coexist in an artistic context than they can in the rational world. Of course, many cultures consider the circle a symbol for eternity, so it seemed appropriate to use this format in order to represent the universe. In addition to astronomical images and microorganisms, I also depict objects of nature and the human figure. Presenting a plethora of creatures from the natural world (both extinct and surviving) speaks to the evolutionary processes that formed humans. For such processes to reach the current stage, they require vast amounts of time that are almost inconceivable for the human mind. Like Kant’s antinomies, thoughts of this sort are perhaps more than the imagination can comprehend; they end in contradictions and yet hold the potential to stimulate new and original thinking.
Many Worlds
In my recent work, I attempt to present not only images from astronomy and microbiologybutalso from the realm of quantum physics. One of the most interesting areas I have researched is the existence of alternate universes and other dimensions. In the past, ideas like these were met with ridicule and were relegated to the realm of fantasy and science fiction. However, since that time, a revolution in contemporary science has taken place that inspired my artwork.
The ideas of theoretical physicist Michio Kaku have been in the vanguard of speculation on the subject of parallel universes. In his book,Hyperspace, Michio Kaku discusses the idea of dimensions that might exist beyond the commonly accepted four of space and time. He states, “There is a growing number of physicists worldwide, including several Noble Laureates, that believe that the universe may exist in higher dimensional space.” Like Einstein, Kaku bases many of his insights into alternate universes on visual images. He writes about observing a gold fishpond at the famous Japanese Tea Garden in San Francisco and allowing his imagination to wander. He thought about the fish in the pond and what their world must look like. He speculates:
“Living their entire lives in the shallow pond, the carp would believe that their universe consisted of murky water and the lilies. Spending most of the time foraging on the bottom of the pond, they would only be dimly aware that an alien world could exist above the surface. The nature of my world was beyond their comprehension.”
Kaku also writes extensively about the relationship between literature and science, particularly as explored by the authors of children’s literature. He points to the work of Oxford mathematician Lewis Carroll for incorporating strange mathematical ideas into his writing. Kaku refers to texts such asAlice in Wonderland, the Wizard of Oz and Peter Pan as examples of art that have explored parallel universes in a literary context.
Further connections between fantasy literature and science became evident when physicists recognized the importance of author Jorge Luis Borges and his book The Garden of Forking Paths. Physicists recognized parallels between Borges’ notion of simultaneous realities and the fact that certain subatomic particles could be in more than one place at a time. The idea of multiple universes and other dimensions is no longer a silly idea but something that has been intuited by artists and authors and studied by physicists.
Many of the insights from Michio Kaku’s book influenced me to think about different ways to represent the idea of a universe filled with strange and unusual possibilities. His writing also inspired me to use the human figure as a kind of Alice in Wonderland character. The female figures in my paintings are usually asleep, dreaming or daydreaming, which allows them to enter a fantastic world where astronomical forms coexist with microscopic or subatomic particles together in the same magical space. In this way, I hope to create an art that encompasses scientific inquiry and magical thinking.
(Medium: oil on panel)
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A Theory of Everything (10)
To think about human beings and our relationship to the cosmos can often lead to far-fetched and even mind-boggling speculation. The more data we uncover about the universe, the more fantastic our situation appears. Information and discovery alters our understanding of metaphysics and religion; it causes us to re-evaluate our position and role in the scheme of things. Yet the question remains: How can we possibly know anything about ourselves without knowing our origins? Time and timelessness, multiple universes and other dimensions, the origin and fate of our universe—these are but a few of the life-changing topics that cosmologists and physicists are investigating. Presenting material of this sort in an artistic context is fraught with problems, but my desire for awe and mystery overpowers common sense and fear of embarrassment.
I have titled my current series of paintings “A Theory of Everything.” I am referencing ideas that have been discussed by cosmologists and astrophysicists: the creation of a theory that can unify the theory of general relativity and quantum mechanics. However, I have used the phrase in a more general and creative way to suggest a world where I can explore the relationship of humans to the cosmos. In my recent work I create an imaginary space where scale can be manipulated and the sense of time can be compressed. By juxtaposing the world of the very large (macrocosm) and the world of the very small (microcosm), I can create analogies between celestial bodies and microorganisms. I can also pretend to view the universe sub specie aeternitatis, or from the perspective of eternity, by presenting cosmological events from the distant past with fully evolved humans from our own time. In this way, past, present, and future can be condensed into a magical pictorial setting.
The circular format of the work was chosen because of its reference to telescopes, microscopes and mandalas. These images from science and religion can more easily coexist in an artistic context than they can in the rational world. Of course, many cultures consider the circle a symbol for eternity, so it seemed appropriate to use this format in order to represent the universe. In addition to astronomical images and microorganisms, I also depict objects of nature and the human figure. Presenting a plethora of creatures from the natural world (both extinct and surviving) speaks to the evolutionary processes that formed humans. For such processes to reach the current stage, they require vast amounts of time that are almost inconceivable for the human mind. Like Kant’s antinomies, thoughts of this sort are perhaps more than the imagination can comprehend; they end in contradictions and yet hold the potential to stimulate new and original thinking.
Many Worlds
In my recent work, I attempt to present not only images from astronomy and microbiologybutalso from the realm of quantum physics. One of the most interesting areas I have researched is the existence of alternate universes and other dimensions. In the past, ideas like these were met with ridicule and were relegated to the realm of fantasy and science fiction. However, since that time, a revolution in contemporary science has taken place that inspired my artwork.
The ideas of theoretical physicist Michio Kaku have been in the vanguard of speculation on the subject of parallel universes. In his book,Hyperspace, Michio Kaku discusses the idea of dimensions that might exist beyond the commonly accepted four of space and time. He states, “There is a growing number of physicists worldwide, including several Noble Laureates, that believe that the universe may exist in higher dimensional space.” Like Einstein, Kaku bases many of his insights into alternate universes on visual images. He writes about observing a gold fishpond at the famous Japanese Tea Garden in San Francisco and allowing his imagination to wander. He thought about the fish in the pond and what their world must look like. He speculates:
“Living their entire lives in the shallow pond, the carp would believe that their universe consisted of murky water and the lilies. Spending most of the time foraging on the bottom of the pond, they would only be dimly aware that an alien world could exist above the surface. The nature of my world was beyond their comprehension.”
Kaku also writes extensively about the relationship between literature and science, particularly as explored by the authors of children’s literature. He points to the work of Oxford mathematician Lewis Carroll for incorporating strange mathematical ideas into his writing. Kaku refers to texts such asAlice in Wonderland, the Wizard of Oz and Peter Pan as examples of art that have explored parallel universes in a literary context.
Further connections between fantasy literature and science became evident when physicists recognized the importance of author Jorge Luis Borges and his book The Garden of Forking Paths. Physicists recognized parallels between Borges’ notion of simultaneous realities and the fact that certain subatomic particles could be in more than one place at a time. The idea of multiple universes and other dimensions is no longer a silly idea but something that has been intuited by artists and authors and studied by physicists.
Many of the insights from Michio Kaku’s book influenced me to think about different ways to represent the idea of a universe filled with strange and unusual possibilities. His writing also inspired me to use the human figure as a kind of Alice in Wonderland character. The female figures in my paintings are usually asleep, dreaming or daydreaming, which allows them to enter a fantastic world where astronomical forms coexist with microscopic or subatomic particles together in the same magical space. In this way, I hope to create an art that encompasses scientific inquiry and magical thinking.
(Medium: oil on panel)
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