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Regina Valluzzi

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Dr. Regina Valluzzi explores the science of perception through complex intricate drawings and paintings. She has an extensive scientific background in nanotechnology and biophysics. As an artist she would probably be described as “self taught”, having never received an art degree. However she received lessons in art and visual theory from an early age from a formally trained artist parent. She has become expert at finding art lessons in any activity involving visual information.



Dr. Valluzzi has always held a strong interest in the visual arts and in visual information, allowing visual arts ideas to permeate her technical work and vice versa. She was educated in Materials Science at MIT, obtaining a second B.S. degree in music with a minor in visual studies. During her Ph.D in Polymer Science and Engineering at the University of Massachusetts Amherst she completed a thesis requiring advanced electron microscopy, image analysis, and theoretical data modeling. These experiences provided the visual insights and experiences that inform much of her work as an artist.



Materials Science, her undergraduate major, is arguably among the most visual and beautiful of the sciences. People have always marveled at the very big and very small in our universe. Cosmology and the art of Space captures the very big. Art that speaks about Materials Science and Chemistry gives voice to the science of the very small. Dr. Valluzzi has had a long fascination with the very small. She incorporates Chemistry and Materials Science ideas from her own research and other ideas from the Physics of the very small as subjects in much of her not-quite-abstract art.



Her work is in private collections in the US, UK, Germany, Canada, Japan, the Netherlands, Switzerland, Bulgaria, and Malta and the corporate collection of the Seyfarth Shaw law offices in Boston.




Artist's Statement


I often ask myself whether I'm a physical scientist who also paints, or a painter who has studied a bit too much physics and chemistry. Physics and Chemistry have become a big part of how I model and understand the world. I approach paint texture in terms of it's viscoelastic properties and color in terms of pigments and their spectra. If you take a cadmium inorganic red and it's organic substitute, gently tweak them so they look almost identical in indirect daylight, will they behave differently in incandescent light? Sunlight? Late afternoon light?  (controlled lab light?) 


Unlike people, fruit, landscapes and other traditional painting subjects, technical ideas and objects don't have an “appearance” in any normal sense of imagery. They're  imagined and depicted as visual ideas that guide us through complex phenomena. For example what do bonds in molecules really look like? Or the quantum not-quite-existence of high vacuum-spawned subatomic particles? The softly dancing dynamic structures in complex fluids? What about "things" that are too small and too delicate for even the best electron microscopes (TEM - SEMs are toys)? I've found that many images scientists create serve as visual similes to data and hypotheses, and as visual metaphors for complex and often highly abstract concepts. These metaphors and their stylized interpretation inspire and guide my "abstract" work.

— Regina Valluzzi 




All Work by Regina Valluzzi

  • Music of the Spheres

    Music of the Spheres

  • Tadpole Diagrams (at Play)

    Tadpole Diagrams (at Play)

  • IPN


  • Nuclear Fusion

    Nuclear Fusion

  • Listen


  • Emergent Order

    Emergent Order

  • Vacuum Energy

    Vacuum Energy

  • Growth Pattern

    Growth Pattern

  • Out of Balance

    Out of Balance

  • Coil to Globule

    Coil to Globule

  • Complex Fluid

    Complex Fluid

  • Origins of the Species

    Origins of the Species

  • Biology of an Idea

    Biology of an Idea

  • Bingham Fluid

    Bingham Fluid

  • Bacteriophage Ballet

    Bacteriophage Ballet

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