wilna panagos
55cm x 55cm - - oil on canvas - - hover the cursor over the images for the artworks' names
55cm x 55cm - oil on paper
boojum: disappeared, as used by author Jasper Florde in his novels, eg. "I'm afraid they were boojummed, two minutes of silence for David and Catriona, please."
boojum: superfluidity, a phenomenon in physics, associated with superfluid Helium-3.
boojum: the boojum tree of Baja, California & Sonora, Mexico.
boojum: a particularly dangerous kind of snark, from the Lewis Carroll nonsense poem, The Hunting of the Snark.
snark: there are several different varieties of snark, some have feathers & bite, some have whiskers & scratch & you mustn't confuse a harmless snark with the apparently very dangerous boojum.
the taste of the snark is meager & hollow, but crisp (apparently like a coat that is too tight in the waist), with a flavour of Will-o-the-wisp. it is sometimes served with greens. it also sleeps late in the day.
while the snark is very ambitious & has very little sense of humour, it is very fond of bathing machines & constantly carries them about wherever it goes. it is also handy for striking a light.
the domain of the snark is an island filled with chasms & crags. on the same island may also be found creatures such as the jubjub & bandersnatch. it is the same island where the jabberwock was slain.
the snark cannot be captured in a commonplace way. the most common method is to seek it with thimbles, care, forks & hope. one may also "threaten it's life with a railway share" or "charm it with smiles & soap".
55cm x 55cm - oil on canvas
55cm x 55cm - pencil & marker on paper
55cm x 55cm - oil on canvas
55cm x 55cm - watercolour on paper
55cm x 55cm - oil on canvas
25cm x 25cm - oil on canvas
paintings acquired by the Dept. of Science & Technology for their new building in Pretoria:
dance diagram for the unified theory of everything - in three movements ( triptych )
the different elements in the paintings represent different aspects of science & technology and strive to express the beauty of something that is not necessarily considered beautiful by people in general. it says that science & technology is something to be celebrated because it's what makes us human and sets us apart from the other animals and greatly improves the quality of our lives.
the science & technology elements are suggested rather than realistically described - the stone-age technology of a spear point, mechanical parts, the particle paths in a bubble chamber, a satellite, plant and animal cells, electronic components, an industrial fragment, stars. the areas of lettering are also elements, visual and conceptual, of the painting rather than simply descriptions of it. all this strives to span the human endeavour in the field, historically and in the present and also to suggest the possibilities for the future.
the bright colours and dancing lines were chosen to elicit a joyfulness and beauty and the white represents the enlightenment that scientific & technological discovery brings, while the brown areas remember the connection of all this to the earth, through us, who originated in the soil of Africa.
variations of some of the visual elements are repeated in all three paintings to create a cohesion amongst them, so that they can form one artwork even though they might seem quite different on the surface - this energises the artwork and makes it more interesting and dynamic and engages the viewer in that he/she must find the connections between them in his/her own mind.
you can call the various elements signs, in the sense that signs are abbreviated and simplified conveyors of information and the signs in the artwork collectively say that this is a place for science and that it is a good thing.
signs are everywhere in the world, instantly conveying all kinds of information and this is what this artwork strives to do, except that it is somewhat cryptic and thus engages the imagination of the viewer, who must figure out what the sign is trying to tell him/her and the conclusions would be different for different viewers and even different for the same viewer at separate instances. in this way it would be more interesting than something that conveys its message unequivocally.
the painted surface and imagery extend to the sides of the paintings rather than it being framed - this emphasizes the feeling that the artwork is part of its environment and extends into its surroundings rather than being isolated in a frame. rather than being a window through which you are looking, it becomes part of the building.
80cm x 80cm - oil on canvas
the quantum state of the universe
this painting is about biology and research as denoted by the abstraction of a microscope and the various cells. the figure at the top left brings to mind both a satellite and a person looking and it indicates that research is shared across the world via the internet.
the lettering binds together this search for answers with quantum physics that underlies everything. the warm colour and dancing composition indicates the joy and inspiration that scientists find in their work and the satisfaction of solving scientific puzzles to the advantage of everybody.
the area of lettering is also an element, visual and conceptual, of the painting rather than simply a description of it.
three quarks for muster mark
this abstraction of electronic components reminds us that electronics plays a huge part in the science and technology that improve our lives and a lot of modern scientific research wouldn’t have been possible without electronics and computers.
the reference to quarks and the origin of their name plus their properties denotes the underlying physics of particles and that they are the building blocks of everything and that they are rather odd. that they are mythical and mystical as well as real and that the scientists who discovered them were also inspired by the arts, as the arts are inspired by science.
the lines refers to the wire work of electronics as well as particle paths in a bubble chamber and the contrasting specks of green amongst the orange brush marks indicate the crackle of electricity.
25cm x 25cm - oil on canvas
55cm x 55cm - pencil & marker on paper & 1 oil on canvas
During the first split second after the big bang, there was a small excess of matter over antimatter. Particles and antiparticles collided, annihilating each other and leaving behind only radiation and the surplus matter. These residual particles make up almost everything in the universe today : stars, galaxies, the earth. Zweig called them aces, from the expression : "dealer's choice - aces, are wild. Gell-Mann told me : "Later I read Finnegan's Wake, by James Joyce, and came upon the line, 'Three quarks for Mister Mark!'" Gell-Mann named them quarks. Color is a special property of quarks that enables them to join and form new particles. A quark's other properties, among them its electric charge, determine its 'flavour' - whether it is up, down, or strange. The fourth flavour of quark appeared as part of a meson a high-energy embrace of quark and antiquark that lasts only an instant before ending in mutual annihilation.The fifth quark is called 'bottom' or 'beauty' and the sixth quark 'top'or 'truth'. Carlo Rubbia admits that looking a the bubbly tracks of wildly scattering high energy particles in a bubble chamber, is an Alice-in-Wonderland approach, "like trying to tell the color of invisible jerseys on invisible football players by watching the movement of the ball".
55cm x 55cm - oil on canvas
25cm x 25cm - oil on canvas
i was born in pretoria, south africa, where i also matriculated and studied fine arts at the university of pretoria. the African light, landscape, and cultural environment has been a strong inspiration throughout my life and is recognizable in all my artwork. i prefer doing abstract work because it urges the viewer to make his own connections with the artwork and thus create a unique and separate experience for each viewer. the onlooker is forced to use his imagination and in this way there is an interaction between him and the artwork that is seldom achieved with representational artwork which simply describes reality to the viewer. my artwork also tends to be light and joyful - most artists take themselves far too seriously - i prefer to look at objects and concepts with irony and whimsy. my paintings are cryptic clues to the world, they are short visual poems and they extol beauty in spite of the current trend of the art establishment to scorn beauty as motivation for art. i believe that we are bombarded with the ugliness and tragedy of life and that we need art to counter this and to remind us that beauty and happiness haven't been banished from the world. i also find the difficulty of making a picture with a sparse layout and simple shapes exciting and interesting to the viewer, a wonderful challenge.
more artwork
Wilna Panagos © 2013