From the infinitely large to the infinitely small and throughout countless measures in between, the universe is fractal.  Once this was a speculative hypothesis; it is now established fact.  Fractal manifestations are everywhere.  A hundred billion swirling stars spill across the velvet blackness of space, branches of lightning split the darkness, crashing thunder rocks the earth, the iridescent eyes of a dragonfly shine in a momentary pause of frenetic flight, the quantum entanglement of life weaves a vast tapestry of infinite complexity.  Once you learn to look for the telltale recursive signposts, you will see fractals everywhere you look. This is the stunning genius of creation.

A truth that is both so fundamental and so universal should be the source of immense scientific and philosophical interest.  And, as a matter of fact, it has been.  Unfortunately, however, the sheer immensity of the revelation serves to obscure its import.   The subject of fractals has been developed to a wondrous level of mathematical intricacy.  Scholarly tomes on the subject abound.  Although it is conceptually elegant and quite simple (as are all great theorems), its permutations are quite literally infinite.   This fact raises interesting considerations for we humans and the nature of the reality we inhabit.  I have explored these considerations elsewhere in the context of fractal implications regarding the eternal nature of the human psyche, both individually and as a group.

Quite early on in my career, it became apparent that certain mathematical iterative principles formed geometries that coincided exactly with those found in natural ecosystems.  And by ecosystems, I do not mean just plants and animals.  The same principles also apply to quantum physics, geology, meteorology and on up to the formation of galaxies.  This is certainly not original with me.  Thoughts along these lines can be found, for example, in the notebooks of Leonardo da Vinci.

I am a research scientist.  A large part of my career has been dedicated to scientific research into the structure of ecosystems and the factors that affect them.  I have been employed by nationally prominent firms as a scientist and have in later years employed myself in that role as well.  Verification of this can be found here.  For me, the scientific research has been of secondary importance.  I have always viewed it as a means of supporting my primary objective of seeking the central core of meaning which lies at the heart of all observed phenomena.  

One way of communicating this central core of meaning lies in the exploration of the exquisite beauty of fractal imagery.  The domain of creativity available for such exploration is quite literally infinite.  Everything on display here and in other venues that present my work explores areas of this marvelous wonderland that have certain distinguishing characteristics.  First and foremost, worlds are presented that are haunting in an ethereal positive and uplifting way.  That is not because Pollyanna is my Muse.  It is, rather, because the worlds I depict are real places and those elements of them that I choose are the most beautiful because aesthetic beauty is what motivates me.  Now, the key phrase of the previous sentence is “...the worlds I depict are real places...”.  

The above presentation is only introductory.  The entire article (including embedded fractal art) can be found here.