The main focus of my art is to visualize in simple ways some basic concepts presented in my book. I would like to believe that the different crafts created form some sort of a continuity between the science, philosophy, and art stations in my life.

These four paintings were created using computer software and printed on aluminum plates. Employing an arbitrary function ƒ to symbolize a physicalistic evolution of nature which is bound to various physical laws (expanding to multidisciplinary rules and concepts), the drawings attempt to imply that “ƒ is everywhere”, and accordingly this evolution pattern is also governing and shaping our surroundings and reality.

A special instance of this concept applies to the individual human complex consisting of body and mind (right lower painting). Here, ƒ is depicted with some sort of psi-shaped "arms" forming a lizard-like emblem. The latter represents a function, also believed to emerge from ƒ, which symbolizes the effects of environmental influences—including reactions and interactions—over the human mind's inherent conversion processes (holding, for example, a potential to bias "pristine", heredity-favorable behaviors in different ways). Under the topic of psychoenergetics, the book discusses some of these impactful events from the standpoint of certain genetic incentives. With respect to that, one related pivotal hypothesis assumed that perceptive mind mechanisms constitute projections to the physical laws which have been shaping these mechanisms' evolution under unfolding physical conditions.

The combined ƒ and psi functions' "lizard-like emblem" (see above) is further displayed in the middle and left objects of this three-piece exhibit. While the middle element is made from black lake stones attached to stainless steel, to assemble the left craft I employed a special technique that can be referred to as “electro painting”. The underlying steel component was modified to accommodate a copper salt solution. This electrode was connected to a power source holding its potential negative with respect to a copper wire, acting as the "pen” electrode in the setup. Through moving (changing the position of) the wire over the substrate under the constant current conditions applied, copper ions were locally reduced on the steel surface to form metallic copper deposits. This method was further utilized in the right side of this piece to project my hypothesis that the systematic perception of spacetime, which is also assessing the individual human's responses to it, relies on a set of layered phenomenological conscious experiences, and among them the energetic perception that reckons fundamental genetic incentives.

This piece was constructed by crystallizing a warm supersaturated copper sulfate solution inside grooves carved in oak wood. The pattern attempts to visualize the hypothesized "one entrance (input I1) and two exits (outputs O1 and O2)” in regard to operative transitions to and from the latent mind (M). The notion B refers to the individual’s external-to-the-mind body.

This piece is made from solidified gallium metal that has been initially poured in its molten form into wood-carved indentations. The assembly portrays a common scenario, where a guardian, while looking after his/her young offspring, is conveying to him/her some "strong" beliefs whose resistance to major changes by less impactful energetic-genetic contributors is relatively high. This possible correlation between the intensity of energetic-genetic donor-acceptor interactions and the activation barrier at the acceptor's mind to changing certain beliefs assimilated during these events is discussed in the book.

The lizard-like ƒ-psi pattern in conjunction with its implied conceptual implications further reappears in several other crafts employing in these cases acrylic glass as a base substrate layer. One example used, again, the solidification of molten gallium (namely, painting with a liquid metal).

Another piece employed fine alum (hydrated sulfate salt of aluminum, xAl(SO4)2·12 H2O) crystals which had been formed in the presence of different, or different concentrations of, dye molecules. The stones immobilized at the sides of this craft were collected throughout my travels around the world, symbolizing the universality of the physicalistic processes behind the concepts entailed.

This piece is made from copper wires, washers, and bolt nuts attached to canvas. The presentations aim to portray the following genetic incentives assumed to be hardwired to every individual's energy perception:

1. Survival.

2. Reproduction.

3. Critical guardianship over an infant offspring.

4. Enhancement of the offspring after he/she has developed certain self sustaining energetic capabilities and later on in life. This supplementary support is assumed to increase the potency of the offspring to realize his/her own set of genetic goals, thus contributing to the survival of the species.

And under different visible and UV illuminations:

This piece (27 over 39 cm) is made of black acrylic glass immobilized on wood, on which stainless steel, copper nuts, paints, black lake stones, hematite, citrine, and celestite were used to form the presentation. The struggle between different beliefs (the latter symbolized by a small assortment of gemstones) is portrayed through a duel between two ƒ-psi-directed swords referring to human minds that encode specific beliefs in their internal structures. The outcome of the struggle, assumed to be destined by deterministic physicalism, contributes to the structural redistribution of physically separated, yet externally communicated, human mind arrays. Throughout the process, certain projections of the struggle and the beliefs involved are being normally generated, as presented by the footprints of the impactful event.

Part II:

"Photopainting"

Another art project that I am interested in relates to "photoabstraction" or "photopainting". In this case I use computer software to paint on photographs that I have taken, enriching them, at times, with more surrealistic elements. Other works include abstract digital paintings or photos only.

Part III: Painting

Recently, I am also interested in "standard" acrylic painting.