Nerdly painter Solo Show, other news

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Hello world!  Sorry about the long delay between newsletters.  I've been working on a new website, learning wordpress and going HTML.  It's still a work in progress, but now points to the spiffy new flash-free site.  I'm liking the possibilities, not relishing the coding needed to implement those possibilities.

1.  So the big news on the horizon is that I've been working with a local curator, John Quatrale, to put together a solo show of paintings from late 2010 through early 2012.  The show is in a big alternative space in the middle of Brighton, MA,. a bakery called Athans. It's titled "insight and allusion" and features a number opf science and technology inspired works.  Not only does Athans have the space for several of my larger paintings, they also have an entire pastry case dedicated to different variants on the ba-kla-va theme.  We're trying to schedule a few gallery talks and I'm taking suggestions for dates and times.  The reception is Sunday April 29 from 6-8 PM.  For more information, there's a press release posted on my blog (a reblog from the Abstract Artists group). Stats below the image.
Dreams of Awakened Souls and Out of Balance are both featured
at the "Insight and Allusion" exhibit in Brighton

Contact Information:

John Quatrale, Independent Curator


Athan’s European Bakery & Café

617.734.7028 | 407 Washington Street, Brighton, MA 02135 || MBTA Buses 57, 65, 86, 501 & 503| 8 am-10 pm everyday| runs from April 11 – June 3, 2012

2.  I also have several drawings featured in a gallery experiment at an upscale Bed and Breakfast in the South End.  Their website has a preview page where you can see my work in the exhibit.  their Open House with the Artists is on May 24,  See the 14 Union Park website for more information, or contact Audrey Burkhart  Stats follow the image
Details of a device for the manufacture of Dreams
ink on paper

14 Union Park Bed + Breakfast; 14 Union Park; Boston, MA 02118

 T. 281-636-1492; F. 617-419-1045

3.  The Beacon Hill Art Walk will be here before we know it.  I plan to be there again this year, and it looks like I may have the same spot - at the top of Primus Street in the shady courtyard.  It's just a great event, and yopu get to see the private gardens of Beacon Hill while getting a real flavor for all of the varied artistsic talent Boston has top offer.  the Art Walk is Sunday June 3.  Maps, updates, and more information are on the BHAW website.
I have a few new pieces that are just fun for the Art Walk, including a red, a yellow, and a blue "counterpoint" with   painted and extruded concentric rings (links take you to larger images on Red bubble).They're each 24 x 24 inch acrylic paintings, and are specially priced through the Art Walk at $450 each.

I'm keeping the newsletter short and sweet this month (have to work on the website and get ready for the shows).  I would like to share some recent work and a new medium and approach (for me).  Before it suddenly sprang spring, it was winter, and rather damp and chilly.  For a painter, winter means no more well-vented areas to work.  This year, for the first time, I spent the winter months focused on acrylic painting.  Acrylic is quite different from oil.  It adheres to a variety of surfaces that oil wouldn't wet.  It dries very fast.  Modern acrylics also come with all of these nifty gel media that cover a wide swath of viscosities, viscoelastic properties, transparency and gloss, and shrinkage on drying (solids content).  Being something of a polymer nerd, I've been experimenting with the transparent media as much as painting with the paint.  Some of the heavier media produce just lovely textures when extruded through a pastry bag.  Glass lenses also stick well to acrylic and are easy to incorporate.  I've been experimenting with flowing and diffusing different consistencies of paint and media over and through one anopther, and with incorporating glass for texture and optical special effects.  I personally like the subtler effects.  For example, acrylic paint and acrylic lenses have essentially the same refractive index, which creates a nice ambiguity between curved paint and media areas and the curbvature of added lenses.  The refractive index of glass is a tad higher than acrylic (but not as much as one might expect).  Mixing curved transparent media, acrylic lenses, and glass lenses creates subtle and surprising refractive index contrasts within a painting.  The "big splashy" effect is a property called retroreflection, which happens over a narrow angle when spherical lenses are used.  It's the same property that's used to make road signs suddenly shine - in full color - when a car's headlights hit them.  In diffuse gallery light, they're just paintings.  in the more varied light of a real room, they dance.  A smaller painting, "Neural Network" provides a good example of some of the subtle and not-so-subtle effects of layering and optics in an acrylic painting.  It's shown below in "neutral" diffuse light (top), lit with a light in the retroreflective condition (middle)and in a darker location with light hitting at the retroreflective condition (bottom).

That's all for now - until May (promise!).

Have a great Spring all!

Regina Valluzzi
The Nerdly Painter
(who tends to love optics a bit much)

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