BS in Humanities (Visual Art Minor) and BS in Material Science, MIT 1989
PhD Polymer Science UMass Amherst 1997
Exhibition Highlights2011 – 2013 (juried, curated, competitive)
2013 “Unthemed and varied”, 100 Market Street, portsmouth NH, 1 of 2 best in show Prize winners
2013 Members Juried Show 1, Newburyport Art Association, Newburyport, MA
2012 “Driven to Abstraction” small group show, Old Shwamb Mill, Arlington, MA, curated by Regina Valluzzi
2012, 2013 Bridges Mathematical Art exhibit at the Joint Mathematics Meeting (twice)
Boston, MA and San Diego, CA (juried, international)
2012 “Glitz” National Group show, Annmarie Museum and Sculpture Garden, Solomons, MD
2012 Solo Shows at Crema in Harvard Square, Cambridge and Mullen, Boston
2012 “With the Other Eye”, Portsmouth NH
2012 WGBH Winter Art Auction (juried)
2012 Solo Show, Curated by John Quatrale, Athan’s Bakery, Brighton, MA
2011 “9×12” juried international group show, Ferencvarosi Pince Gallery, Budapest, curated by Beata Szechy
2011 “Identity”, group exhibit, Brighton Allston Heritage Museum, curated by John Quatrale
“Appearances”, Provincetown Green Arts festival, curated by Dorothy Palanza
2011 Still Point 3, juried international show, Still Point online Art Gallery
2011 “Artists in the Arboretum” group show, Harvard University’s Arnold Arboretum, Jamaica Plain, MA
2011 Paperworks Winners Show, juried international show, bjspoke gallery, Huntington, NY
2011 “Red”, juried show, Inside Out Gallery Somerville, MA
2011 “Rising Above”Invitational group show at the West Side Arts Coalition NYC, NY
2011 SMART Science math and Art Festival, Los Alamos, NM (juried, international, Honorable mention)
2011 “Early Winter Show”, the Gallery at 100 Market Street, Portsmouth, NH (juried, regional)
2011 “Regeneration”, regional juried show, Arlington, MA
Publications 2011 & 2012
Diagram Magazine, small portfolio feature
Oddball Magazine, image feature
The Quotable, image feature
Palooka, portfolio Feature
Black Fox Review, image feature
Prick of the Spindle Portfolio Feature and cover (online)
Cover, Prick of the Spindle Print Edition, Issue 4
cover of “Communitas”
Image featured in “Focus” the news magazine of the Mathematical Association of America 2012
Cover of the Bridges math art exhibition catalogue 2013 (exhibition at the Join Mathematical meeting in San Diego)
Cover of “Focus” March 2013
Recognition 2011, 2012
Best in Show (1 of 2), The Gallery at 100 Market Street “Un-Themed and Varied”, 2013
Juror’s Choice Attleboro art museum member’s show 2012
Honorable Mention at the Next Big Idea Science and Art Festival 2011
2 Special Recognition awards in international online juried shows hosted by Light Space and Time 2011, ArtSlant Showcase winner 2011,
Dr. Regina Valluzzi has an extensive scientific background in nanotechnology and biophysics. Her scientific accomplishments include over thirty articles in peer-reviewed scientific journals, several patents, an encyclopedia chapter as a subject matter expert, and invited talks in the US, Europe, and Japan. She has been a scientist in the chemical industry, a green chemistry researcher, a research professor in the engineering school at Tufts, a start-up founder engaged in technology commercialization, a start-up and commercialization consultant, and a science-themed artist.
As an artist she would probably be described as “self taught”, having never received an art degree. However she received lessons in art and visual theory from an early age from a formally trained artist parent. She has become expert at finding art lessons in any activity involving visual information.
Dr. Valluzzi has always held a strong interest in the visual arts and in visual information, allowing visual arts ideas to permeate her technical work and vice versa. She was educated in Materials Science at MIT, obtaining a second B.S. degree in music with a minor in visual studies . During her Ph.D in Polymer Science and Engineering at the University of Massachusetts Amherst she completed a thesis requiring advanced electron microscopy, image analysis, and theoretical data modeling. These experiences provided the visual insights and experiences that inform much of her work as an artist.
Materials Science, her undergraduate major, is arguably among the most visual and beautiful of the sciences. People have always marveled at the very big and very small in our universe. Cosmology and the art of Space captures the very big. Art that speaks about Materials Science and Chemistry gives voice to the science of the very small. Dr. Valluzzi has had a long fascination with creating a big picture out of a multitude of coalescing tiny details. Most recently this fascination has led to a series of paintings examining Ecological Science and order in a broad context and using mixed media to challenge the semiotics of the painted landscape.
Her work is in private collections in the US, UK, Germany, Canada, Japan, the Netherlands, Switzerland, Bulgaria, and Malta and the corporate collection of Seyfarth Shaw law offices in Boston.
I often ask myself whether I’m a physical scientist who also paints, or a painter who has studied a bit too much physics and chemistry. Physics and Chemistry have become a big part of how I model and understand the world. I approach paint texture in terms of it’s viscoelastic properties and color in terms of pigments and their spectra. If you take a cadmium inorganic red and it’s organic substitute, gently tweak them so they look almost identical in indirect daylight, will they behave differently in incandescent light? Sunlight? Late afternoon light? (controlled lab light?)
Unlike people, fruit, landscapes and other traditional painting subjects, technical ideas and objects don’t have an “appearance” in any normal sense of imagery. They’re imagined and depicted as visual ideas that guide us through complex phenomena. For example what do bonds in molecules really look like? Or the quantum not-quite-existence of high vacuum-spawned subatomic particles? The softly dancing dynamic structures in complex fluids? What about “things” that are too small and too delicate for even the best electron microscopes. I’ve found that many images scientists create serve as visual similes to data and hypotheses, and as visual metaphors for complex and often highly abstract concepts. These metaphors and their stylized interpretation inspire and guide my “abstract” work..