One day when I was experimenting in my Grant Park studio, I began staring at an image I had just finished. It was a strange experience because it seemed as though the picture was telling me something, but what? As though I were in some place special where no one else could be, I was learning an art subject quite new and exciting because I had discovered a style as though I was receiving special art insight. In fact I was in a kind of trance because I saw my work as unique and like nothing I’d seen by any other artist. Then, all of a sudden, my art historical training began working and it finally occurred to me that his imagery was exactly like my imagined ideas of what could be seen in quantum mechanics, a field of science - not art - but a realm which I had looked into because it fascinated me. Immediately, the door flung open and all the ideas I’d ever known about this plateau of the exact opposite of fine art as we know it seemed sensible and logical and mostly, it seemed worthy of deeper study. I couldn’t quit thinking about how I could merge the study of science and art to prove that my ideas were more than simple rehash of André Breton and the experimenters who knew there was something for them in the new ideas being put forth by a few enlightened physicists.
So, I had thought about various manifestations of color, space, lines and my methods for conveying movement in my imagery, realizing that I was entering a field which required a powerful yet delicate connective tissue between the two fields to express the breakthrough of physics nearly a century ago. I was convinced that only in the most abstract manner (no connection to the then prevalent definitions of abstraction in art circles) could I achieve something acceptable to both the scientific and art communities. So I tried something I’d never seen before in any art and I discovered from that evolved an art idea I refer to as Quantum Images, an explanation of science and fine art and a furthering of some of the early work of a generally similar nature of a century ago when Quantum Mechanics hit the world like no other discovery has.
Richard H. Love
Home and Garden, 1989
Oil on Canvas
24 x 30 Inches
Signed Verso
Framed
Richard H. Love
Per Se, 1990
Oil on Canvas
12.5 x 20 Inches
Signed Verso
Framed
Richard H. Love
Neutrino No. 2, 2004
Oil on Canvas
36 x 36 Inches
Signed Verso
Richard H. Love
Quantum Plank, Date Unknown
Oil on Canvas
36 x 32 Inches
Signed Verso
Richard H. Love
Particles No. 455+0-2, Date Unknown
Oil on Canvas
20 x 20 Inches
Signed Unsigned
Richard H. Love
Untitled 3 (Quantum), Date Unknown
Oil on Canvas
30 x 40 Inches
Signed Verso
Richard H. Love
Pallen’s Proton, Date Unknown
Acrylic on Canvas
48 x 48 Inches
Signed Verso
Richard H. Love
Electrodynamic, Date Unknown
Oil on Canvas
20 x 20 Inches
Signed Verso
Richard H. Love
The Sceptic, 1989
Oil on Canvas
20 x 30 Inches
Signed Verso
Richard H. Love
False Electrons, 2010
Oil on Canvas
16 x 20 Inches
Signed Verso
Richard H. Love
Quantum 4914, 2007
Oil on Canvas
36 x 36 Inches
Signed Verso
Richard H. Love
Quantum 89122, Date Unknown
Oil on Canvas
24 x 36 Inches
Signed Verso
Richard H. Love
Quantum Quark No. 4, Date Unknown
Oil on Canvas
22 x 28 Inches
Signed Unsigned
Richard H. Love
Proton 22-G, Date Unknown
Oil on Canvas
29.5 x 50 Inches
Signed Verso
Richard H. Love
Quantum Swirl, 2008
Oil on Canvas
30 x 50 Inches
Signed Verso
Richard H. Love
Quark + p3, 2007
Oil on Canvas
40 x 40 Inches
Signed Verso