Application Video, Impactionism Exhibition Photos and Back Up Documents
We hope this proposal finds you in good health.
It has certainly been a strange year. We have all been pushed to learn new things. Lux Vortex has been no exception. Over the past two months we have developed an energetic new painting style called Impactionism, which forms the core of this project proposal.
Impactionism is best described through its relationship to three basic principles; Energy, Shape and Light:
Energy - Very thick high quality paints are accelerated by blowing them at a canvas at high speed. As the leading edge of each particle of paint touches the canvas the energy imparted by its speed causes it to spread out. The back of the particle continues to push forward, forcing more of the paint outward. This collision forms a smooth round depression, or impact crater, at the center of each element of paint.
Shape - Because we are able to blow such thick paint it retains its shape creating a snapshot of the moment of impact. The smooth surfaces of these small round dimples are then carefully varnished so each one becomes highly reflective. Each of these curved shiny surfaces now acts as a tiny parabolic reflector. Even small paintings are covered with thousands of these shiny craters.
Light - When light moves across the surface of these paintings it returns as thousands of points that follow the eye. Parabolic reflectors have a special optical property. Light hitting these reflectors from multiple angles is redirected toward a focus center. The result is a painting that sparkles in a truly unique and beautiful way.
Just like all of our new techniques, Impactionism was developed using a rigorous scientific process. Ideas were tested by a series of experiments. Computer models were followed by prototypes. With each step we gained information crucial to the next.
Inexorably a delicate balance between paint, speed and energy was discovered. Many factors came under our control; the size and density of the paint particles, depth and distribution, shape and composition and even the distance and direction of impact ejecta.
As our understanding of Impactionism increased an ambitious goal became a possibility. We would depict the incredible force and complexity of a super collider collision by using thousands of fast, energetic impacts of colorful paint.
Collaboration with CERN is the next logical step in the pursuit of this goal. Learning, Building and Teaching is the endless cycle by which all of human knowledge has been collected. Imapactionism will be no different:
Learning - CERN employs some of the smartest individuals who have ever lived, in possession of the most amazing technology ever constructed, based on the most advanced mathematics ever conceived. In order to authentically represent this awesome reality in paint it must be translated into a visual form. Teach us how different subatomic particles move and interact so that we can represent them as color and shape. Show us how energy fields are created and change so that they may become form and composition. Explain the uncertainties of the quantum universe and we can interpret them as texture and light. The more we can learn from you, the more accurate and useful our paintings will become.
Building - Impactionism is a surprisingly fast and energetic painting style, but it is also a technical and precise procedure. The methods and equipment we use are already very effective, but are crude in comparison to what they could be. To best realize our artistic goals some specific new technologies must be refined and rebuilt. The expertise and perhaps some of the equipment, available in your laboratories will be indispensible to this task.
Teaching - To truly comprehend what we discover we must be able to teach it to others. Not just in concept but also in practice. Close interaction with scientists is crucial to this project. We want them to understand what we do just as we must understand what they do. The best way to do this, where possible, is to actually teach them to paint. Impactionism is a specific process which can be taught to anyone who wishes to participate. Even you can learn to paint.
Within the budget and time constraints of this residency we can commit to producing between 30 and 50 unique paintings, depending on size and scope. In reality we will probably produce many more. We feel anyone who is generous enough to devote their time and attention to this residency should be able to receive a painting, or to paint one of their own.
My motivation for this project is very personal.
During my first two years in college I was a Physics Major and I loved it. But at higher levels physics becomes invisible. Subatomic particles can never be seen with your own eye or felt by your own hand. I could not really see beyond the complex equations and computer models. Few people can. So I became an artist.
Although I have found my calling in the arts, I will always regret losing touch with physics. When I could no longer visualize what was happening everything became abstract. I no longer felt an intrinsic connection to what I was doing. Public perception of the sciences suffers from this same limitation.
At CERN there are some of the very few individuals who can look right through the math. They can imagine what is on the other side. I want to speak with them. I want to know what they see when they close their eyes. Then I want to show their dreams to the world.
Impactionism is uniquely well suited to this task:
Impactionism is exciting. Bright bold colors, dramatic shapes and complex reflections are inherently engaging. People are drawn to it regardless of context. Once attracted people are immediately intrigued by the novelty of the technique. You can see them thinking. The first question asked is always “how did you do this?”
Impactionism is literal. What better way to depict the energetic collisions of the LHC than by simulating them? Particles of paint accelerated at a canvas target explode in a fraction of a second. By examining the results of these impacts a sense of the energy involved becomes apparent. Slight changes to the composition and speed of the paint often yield dramatic and unexpected results.
Impactionism is accessible. Paintings are universally recognized as art and so are understandable to everyone. There is no unfamiliar technology to confuse or distract. There are no time restraints or instructions. Anyone can simply view a painting. They are free to think. Free to apply what they see to what they already know. Paintings are profoundly inspiring in this way.
Impactionism is practical. It is a very fast and energetic technique, so I can make a lot of separate pieces. Paintings are durable and are easy to distribute and display. They can be sent directly to the scientific and educational institutions where they can do the most good. More people can experience the impact of the art in person.
Impactionism is new. From concept to full exhibition it is just two months old. There is still a lot of room for growth. It is a versatile technique with great potential, but there is a delicate technical process which underlies its creation. Only through proper collaboration and review can I hope to fully explore its potential.
Science has always provided a foundation for the arts, just as art has always inspired scientists. Help me to definitively understand the amazing experiments conducted at CERN. Then I can develop Impactionism to depict these events as accurately as possible. The result will be a powerful, beautiful and unique artistic visualization technique. Together we can build a bridge between the seen and the unseen.
Note to CERN: We have added a special page to our website, https://www.luxvortex.com/collide , where you will find our proposal video as well as photos and documents related to our Collide residency application. No password is required.
Lux Vortex V.O.F.
Lux Vortex is a small art studio located in beautiful Amsterdam. We are a pair of highly technical artists focused on the development of new artistic techniques. We specialize in creative uses of light; from stage lighting and grand chandeliers all the way down to individual crystal light bulbs. We hold two US Patents related to fluid dynamics and crystal optics, PCT/US2018/0372285 and PCT/US2020/032258. Recently we have applied our methods to painting and have developed the new style – Impactionism.
Tycho Van Iwaarden – General Manager
Born in Castricum, Netherlands, 1985
1998–2004 Bonhoeffer College Castricum, VWO vakkenpakket N&T + Muziek.
2004–2009 Amsterdam Art Academy, Theatre Maker, Technics and Design
Internship: Theateradvies – National Kaohsiung Centre for Arts
2009 – present Curriculum design and instructor workshop Theatre technics.
2010 – present Light engineer and operator at Holland Festival
2010 – present Light engineer and head of technics working with Herman van Veen,
Bastiaan Ragas, Chokri Ban Chikha and many more.
2010 – 2018 AV–Technician at Amsterdam RAI, Jaarbeurs Utrecht and Carre.
2012 – 2015 Light Operator at Concertgebouw
2013 – present Project Leader light and sound installations public buildings.
2015 – 2016 Technical Producer and Light Engineer at Muziekgebouw aan ’t IJ
2015 – present General Manager Lux Vortex V.O.F.
2019 – present Head of Technics: Bijlmer Park Theatre & Veem House of Performance
Additional work experience:
Logistic manager, technical manager, location manager, production manager, sound designer, stage designer, high rigging plus high rigging rescue, disk jockey and ski teacher.
Fred Pereira – Artistic Director
Born 1978 in New York City
2000 – 2008 University of Colorado at Boulder – Majoring 2 years in Physics, Fine Arts
and Economics, then Graduating with a Master of Arts in Geography.
2009 – 2010 1st year scholarship student at Western New England College School of Law
2010 – 2011 International Master’s Program at University of Amsterdam Law School
1998 – 2000 Firefighter with the North Salem Fire Department
2008 – 2009 High School Instructor at Boulder Preparatory Academy
2010 – Present Chief Executive Officer of FPA & Associates
2011 – 2014 Owner and Proprietor of Fred Pereira Studios
2015 – Present Artistic Director of Lux Vortex
Additional Work Experience: video game designer, sailing and ski instructor, lifeguard, soccer referee, caterer and construction worker.
Founded 1st of October, 2015 Address:
Partner 1 Tycho van Iwaarden Javastraat 20–1
Partner 2 Fred Pereira 1094HH Amsterdam, Netherlands
Website: www.luxvortex.com Bank: ING NL04INGB0007243229
Email: email@example.com KvK: 64382931
Mobile: +316 510 535 60 VAT: NL8556.43.663.B01
Major Events and Exhibitions
2015 - present Go Gallery – Amsterdam – our agent, around 2 exhibits per year.
2016 Hotel Casa 400 – Amsterdam – double half Helix light sculpture, winter garden.
2017 Masters of LXRY, main stage, RAI Amsterdam – grand 9m smart chandelier.
2018 CUE 2018 – Ahoy Rotterdam – Buckyball; an homage to Buckminster Fuller.
2018 LED EXPO – Brabanthallen – Network, kinetic smart crystal chandelier.
2019 Christmas Fair – Garderen – Fire and Ice sculpture, light installations.
2020 Theatre ‘De Omval’ – Amsterdam – Crystal Vintage Chandelier