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[Art with a Sense of Humor, since 2014]

Math and Art - Fun With The Golden Ratio

1/8/2020

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Sometimes there can be a surprising amount of math where you least expect it - for example, in these paintings;
Golden Ratio Paintings
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If you look closely at the background patterns in these paintings, you will note that each painting has the same 14 ‘tiles’ rearranged differently. What allows these tiles to be rearranged in an almost-endless number of ways is that they rely on unique mathematical properties of the Golden Ratio, ø.

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Definition of Golden Ratio:
In Mathematics, two quantities are in the Golden Ratio if their Ratio is the same as the Ratio of their sum to the larger of the two quantities.
With two quantities, a and b, a > b > 0, the Golden Ratio, ø =  a/b when  a/b = (a+b)/a
The Golden Ratio is frequently found in patterns in nature, such as spiral arrangements in shells and plants.
ø is an irrational number with a value of   (1+SqRt(5))/2 = 1.6180339887....
Note that  a/b = (a+b)/a = a/a + b/a = 1 + b/a  In other words   ø  = 1 + 1/ ø 
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While the Golden Ratio (see Wikipedia) itself is often mentioned in art (e.g. Leonardo Da Vinci used it to compose his paintings), architecture (the Greeks used it to design their buildings), and nature (mathematical basis for naturally occurring patterns), less well-known is the fact ø has some fascinating mathematical properties. 

For example starting with ø = 1+ 1/ø  (see above), we can derive:
  • (Multiply both sides by ø)  ø^2 = ø + 1
  • (Multiply both sides again by ø) ø^3 = ø^2 + ø
Using such derivations, we see that a Geometric Series based on ø, (that is, a series where every element is obtained by multiplying the previous element by ø)

        .....,  1/(ø^2), 1/ø, 1, ø, ø^2, ø^3,  ..... 

also happens to be a Fibonacci Series, in which the sum of any two consecutive terms generates the next term.
A property that then emerges from this Geometric Fibonacci series is that sums of many different terms in the series can equal the sums of many other terms in the series. E.g.:

       ø + ø^2 + ø^3  = 2ø^3 = 1/ø + 3ø^2 = 2ø + 2ø^2 =2 + 4ø etc.
 
The Swiss architect Le Corbusier, in a quest to design easily-reconfigurable modular buildings, realized that a set of ø-series based modules, i.e. modules whose dimensions were members of the ø series, might allow for building designs with large numbers of permutations and combinations for any given fixed space and fixed set of modules. While Le Corbusier did not succeed in actually creating such modular buildings, his research did bear one fruit: these paintings J.

These paintings incorporate, in their backgrounds, tiling patterns created using ‘tiles’ whose dimensions are based on two INTERLACED ø-series, one series of which is formed by taking the arithmetic mean of consecutive terms of the other series. That is, the elements of one series lie halfway between the elements of the other series, which increases the number of possible ways in which the elements may be combined to add up to other combinations of elements.

All the paintings have the exact same 14 tiles in the background. Every edge of every tile relates to other tile edges in the painting by multiples of golden ratios.

If the Golden Ratio is truly a natural number wired into nature, these tiling patterns should feel naturally aesthetic.
The juxtaposition of a whimsical, illogical form on top of the logical mathematical pattern hopefully creates an anachronism that draws the viewer in to look at the image again and again.

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The Haunted Babushka - Lifecycle of a Painting

3/11/2018

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Click through the slideshow below to see the full life-cycle of this 'Haunted Still-Life' painting: 
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"Cube of Hearts" - Anatomy of An Emergent Painting

2/17/2018

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Here is a behind-the-scenes peek on how my painting "Cube of Hearts" came to be. 

Usually when I paint, I have a fairly good idea of what I want to create. With "Cube of Hearts", I decided to try a different approach, one where the painting would organically emerge from the marks. At least one artist I admire follows this process and I thought it would be worth emulating, just to see what happens. Here is what happened: 

1. In the beginning, a lot of random abstract marks on a canvas. Doesn't look like much at this stage, and could turn into anything. I strengthen certain lines looking for patterns.
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2. I keep painting randomly on it, trying to see where it goes. Busier and Messier. Which way is up? I turn the painting upside down and wonder: Is that a face on the top right quadrant and a cat in the bottom right quadrant. Maybe a monster of two? 
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3. I like some of the edges that show up at the top and decide to darken those areas to create a sense of sky, background, horizon and space:
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4. I decided there is a hunched figure squatting in the foreground, and the cat in the bottom right is really more of a fox, given the bushy tail. I paint over the face to create a faceless blob. Maybe that'll be a creature of some kind.
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5. I try to refine the figure, but realize it isn't working.
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At this point I get stuck. I feel this painting isn't working and it's looking pretty un-aesthetic - not sure I can resuscitate it, Maybe the experiment is doomed for failure. I put it away.

For 6 months.

6. Six months later I put it back on the easel. I like the figure, I like the fox, I like the sky. Maybe I can do something with it after all. First thing I decide is that the figure is not going to be sitting, but floating. And if the figure is floating, better it floats, not over ground, but over clouds. Pink clouds. I'm so partial to pink clouds. The figure needs to be blue, to contrast the pink. and if the figure is blue, then the background needs to be orange to 'pop' the figure. And since the sky is blue, that'll tie the figure to the background, making the painting cohesive. And since the clouds are 'cool' that'll bring them to the front of the 'hot' orange background. Maybe this will work after all!
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7. One week later, the fox is fleshed out and the figure has a dress ending in a mass of floating tendrils, one arm bent upwards - is it holding something? or holding onto something? I don't know yet. No happy with the face at this point though:
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8. The tail on the fox is too fat. What exactly is that white blob in the back? Not liking the yellow hair - the color is too close to the background. I decide making the hair pink would give it more contrast (warm/cool) while also tying into the clouds and pulling the figure forward so it floats more:
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9. The figure's eyes need to be open. The creature in the back needs to be friendly and furry:
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10. I still have to figure out what the figure is doing with it's arms. Is it hanging from something: Balloons? A Rope? And what is it holding out near the fox: A crystal ball? A giant pearl? A heart? As I mull this over, inspiration comes from an unlikely source:
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11. Meanwhile, I decide the other hand is holding onto... a parasol. Was that inspired by Mary Poppins? No idea, but it seems right. I decide the parasol needs to have a detailed Victorian look:
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12. Now the painting is finally coming together. Lots of finishing touches - color progressions on the face, refinement on the fox. I decide the fox shouldn't have it's eyes open - it's more mysterious if the fox is smiling with eyes closed, which also matches the blobby monster in the background. I also need to fix the fox's muzzle - it seems a little off:
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13: Final touches - the cube needs more refinement, and the white monster is standing out too much and needs to be 'knocked back' and the blue on the dress is contrasting too much with the orange. I need to harmonize the painting by glazing over both the dress and the white monster with a dilute orange glaze. Finally we are done:
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"Cube of Hearts" - Oil on Canvas, 24" x 24", 2018

In conclusion, this was an interesting experiment. I would never have come up with this image if I was trying to pre-conceive it so there is something to be said for 'emergent painting'. That said, this painting also took a loooong time from start to finish so I'm not too keen to devoting that much time to a single painting. Hard to make a living as an artist that way :)

Hope you enjoyed this behind-the-scenes peek!
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2017: Year-In-Review Paintings

12/28/2017

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This year, 2017, I managed to paint 'only' 90-plus paintings. Must.Do.Better.Next.Year! :P
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Note: All the images above are 'To Scale', relative to each other.
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About Commissions

12/22/2017

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I accept commissions for paintings that are aligned to my whimsical vision and style. ​Here are examples of some commissioned paintings I have completed, which should give you some idea of the possibilities and process.
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​"Creation Myth for Robots", Oil on Panel, 24" x 30"

Client wanted a large oil painting featuring robots in space ... 
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​"Racer Red", Acrylic on Panel, 8" x 10"

Client is a racecar driver and wanted a penguin driving a red racecar with goggles and helmet. 



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​"Madagascar", Acrylic on Canvas, 18" x 24"

Client wanted to commemorate a 'nightmare trip' to Madagascar featuring client and partners soul animals driving a SUV stuck in a flood with "nothing but beers and chicken" strapped to the top of the car! And it needed to be in Black and White!

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​"Soul-Mates", Oil on Panel, 8" x 10"
Client wanted a Lil' Reaper painting to commemorate eloping to Las Vegas and getting married under neon lights!


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​"Birds of a Feather", Oil on Panel, 8" x 8"

This was an anniversary/birthday gift. Client asked for "something like your iced-coffee paintings with the cute guy and penguin, or say an owl and a penguin together on a tree branch (like the own and robot you have somewhere).... or two cute penguins...." ​

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"Drinking Buddies", Oil on Panel, 8" x 8"
Client commissioned a painting based on a previous original painting titled 'Drinking Buddies' but this time with a purple background and featuring both her husband and her dog.

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"Frog Wash" & "Frog Rider"
​Acrylic on Canvas, 16" x 12"


Inspired by a sketch featuring a robot scrubbing a frog, Client commissioned two paintings for her son's bedroom with the only stipulation be that they have "A Robot, A Frog and an Alien". ​

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"Walking the Dogs", Ink and Watercolor, 12" x 16"

Inspired by my original sketch featuring a robot walking a dog, client commissioned a painting that would include the client's partner and both their dogs. 
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"Oh, The Places You Will Go" - Acrylic on Canvas, 16" x 20"

Client commissioned a painting to be presented to their graduating child to mark the occasion as the child launched off into their new life.

Specifications included: "cute figures like your other paintings", "seaside or water", "cups", "school colors/logo" and "the color green" ... 

Price ranges for commissions are as follows (current as of Jan 2018 and subject to change):
  * SMALLER paintings 8"x8", 8"x10", 9"x12", 12"x12", 11"x14": $300-$750 
  * MEDIUM-sized paintings 12"x16". 16"x20", 18"x24": $500-$1500
  * LARGER paintings 24"x24", 20"x30", 24"x30", 24"x36", 36"x48"+: $1750-$4500+ 

Exact quote will depend on the complexity of the project, whether the painting will be in oils or acrylics, how much research & preparation time the project requires, how urgently you want it completed, and how much the commission will disrupt all my other ongoing projects :).

Exact quote could be more 
or less than the above guideline ranges. Frames are not included in the commission price, unless I tell you otherwise. State sales tax will apply for WA state residents. Oil paintings typically cost more than acrylic paintings.

Commission terms are as follows:
* Half-payment up front to initiate project.
* Upon completion of project, you can choose whether to accept the finished piece or not. 
* If you choose to accept the finished piece, remaining half-payment is due on delivery. 
* If you choose not to accept the finished piece (because you changed your mind or you didn't like how it turned out), no payment is due and you can walk away from the piece, but the first half payment will not be refunded (it compensates artist for time and materials consumed) and artist will retain the finished piece.
* Any studies or intermediate works generated in the process of creating the piece are property of the artist and not part of the transaction.

For commissions to recreate one of my previously-sold paintings or other designs, please note that painting is an organic process full of 'happy accidents' and while I will try my best, it is more than likely that the finished piece will differ from it's predecessor. Some variation is inevitable, and should be welcomed as it ensures the commissioned piece will be truly unique.

To initiate a conversation about a commission, start by sending me an email.

Please note that I reserve the right to decline your commission proposal if I conclude it does not align with my artistic direction and vision. I will let you know up front before you commit yourself.

Thanks!

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Kent Centennial Gallery Show

11/19/2017

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I am honored to be part of a 2-person show at the City of Kent Centennial Center Gallery, along with my friend and master pastel artist Barbara Noonan. The show runs through end-Dec 2017 and the gallery space is open M-F 8-5 located at 400 W Gowe St, Kent, WA 98032 .

Here is a fabulous video of the exhibition that aired on Kent TV recently (My interview starts around the 3:50 mark):

Art at Centennial - Barbara Noonan & Vikram Madan from Kent TV21 on Vimeo.

I have 16 original pieces in this show:
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12th BLAB! Show at Copro Gallery, Santa Monica CA

9/21/2017

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I am thrilled to be a part of the 12th Annual BLAB! Show at the Copro Gallery in Santa Monica, CA. 
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In addition to being the first time I am exhibiting my art outside of Seattle, I am also honored to be part of a show featuring some of the biggest names in the Pop-Surrealist (a.k. Low Brow) Art Movement, including Joe Sorren, Travis Louie, Bill Carman, Glenn Barr, Martin Wittfooth, SHAG, and so many, many more!

Here are some pics from the show:
​Many thanks to show curator Monte Beauchamp and Gallery Director Gary Pressman for including me in this prestigious - and all around fantastic - annual show.
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Solo Exhibition: Seattle Mayor's Gallery

8/24/2017

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I am very honored to have been selected for a solo exhibition at the Seattle Mayor's Gallery in the Seattle Town Hall Building, Third Floor, next to the Mayor's Offices. The show will be up through end of November.
And then, one day, when a new Mayor was sworn in, my art showed up on the local news. That's one way to get your art on TV :)
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On a Whim - Summer Art Exhibition at Mercer Island Gallery

7/24/2017

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I am delighted to be part of a 3-person exhibition at the City of Mercer Island Gallery, located in the Mercer Island Community Center. This exhibition features over 30 of my original pieces, including the recent large painting 'Forecast Says Rain'. The venue is open 7 days a week with extended hours most days. Hope you can get to see it. Opening reception is on Tuesday Aug 1st from 6:30-8 pm. 
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Forecast Says Rain

6/7/2017

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A large 4' x 5' painting I recently completed - so large, and so detailed, it took me 3 months to paint!
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'Forecast Says Rain' - 4' x 5', Acrylic on Canvas, 2017
Click on the individual panels below to see more details
Sorta Timelapse:
Obligatory Selfie
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