Corals

Semi-constrained Lichtenberg figures on scavenged and upcycled wood, acrylic painted, inlayed with mica and epoxy, routed edge and finished in gloss yacht varnish. This contemporary etching on wood transforms cracked color fields into a striking abstract landscape. Layered blues, greens, orange, and crimson create tectonic movement, while delicate lightning-like white lines animate the upper plane. Rich surface texture and the natural grain of the wood give the work depth, rhythm, and a quietly dramatic presence. During the first six months of exploring conduction and resistance, I developed an initial affinity for the "interests" of patterns. To my delight, works from this period were snapped up, as primal as they were - according to my clients - they evoked images of neurons, rivers, mountains, veins, roots, corals, and of course, trees. After hearing for the thousandth time that my pieces resemble those natural phenomena I didn't put there, I realized that, in fact, the opposite is true. Rivers, corals, and roots look like the "logistic map" fractal, which describes changes and evolution in a struggle between two forces that generates a feedback loop. Perhaps this is the fundamental way the universe weaves matter and channels energy given a simple set of laws, which always gives birth to complexity. This, I believe, is the reason everyone responds to these works. I believe that in addition to beauty being in the eye of the beholder, there exists a universal beauty that every scientist, mathematician, and artist can touch occasionally. In my opinion, the eye recognizes complexities in nature from which we emerged as an evolutionary advantage, and when you multiply this by consciousness, you get art. Between discovering new knowledge and erasing the old that doesn't survive, we improve our understanding of this beauty through the scientific process - which is inseparable from art - between two opposing forces