Statement from the Artist: The present work is a meditation on how to count to one. The installation Tesserae will be continuously rearranged and changed throughout the exhibition dates. As a painter, I am thinking about Edward O. Wilson’s discussion of notions of free will and what he calls perceptual "qualia" that provoke the "subtle, almost inexpressible feelings we experience about sensory input” and the sensations and their related feeling tones that precede naming, i.e. redness before it is identified as red. In this sense, I am painting about how our minds work and navigate optical experience, how our conscious naming of the word and establishing gestalts is established, delayed, invited, and entangled by the meeting of eye and mind. These thoughts dovetail nicely with Eric Kandel's work on "reductionism" in art and brain science, especially how the brain processes abstract art ("bottom up") differently than figurative imagery ("top down”). Mosaics are composed of small colored stones or glass known as tesserae, plural, or tessera, singular. In Tesserae @ . 125 : .25 : .5 : 1 : 2 : 3 : 4 : 6 : 12 : 24 : 48 : 72 : 96 : 120 ... I have been interested in boundaries and edges, color and pattern, geometry and mathematical ratios, all in a play of optics and how perception may be influenced as the eye is invited to pass between or bracket multiple panels of various sizes; to jump and alight, to find alignments, to skip from one area to another, as awareness notices and connects—sometimes unconsciously—similarities or continuities across panels, as it switches optics between focal and peripheral vision, zooming in, panning out. The Qualia 1+1=1, diptychs, each an exploration of optical attractions and what is perceived as continuity/discontinuity; how 2 may be perceived as 1. Physics reveals that atoms cannot physically touch one another, that they may however achieve quantum entanglement and attraction. To me this is, aside from interesting science, an ontological and perhaps psychological metaphor for being with another, remaining distinct, not melding into one, being in proximity, remaining intact. About The Artist: Ron Mills-Pinyas is a printmaker and a muralist. Represented in Barcelona and Amsterdam by Villa del Arte Galleries. Mills-Pinyas shows or will show soon at Laura Vincent Design and Gallery and Verum Ultimum Gallery in Portland and Galeria EMAI in Santa Ana, Costa Rica. He is a tenured Professor of Studio Art at Linfield College. Mills-Pinyas has major in-situ murals in the United States, three in Costa Rica, and one in Mexico. In 2016, he completed a large cycle of murals at the School of the Integrated Arts in Santa Ana, Costa Rica (Escuela Municipal de Artes Integradas, EMAI). In 2012, Mills-Pinyas created murals for Oregon State University's Hallie Ford Center, with support from the Ford Family Foundation and the Oregon Arts Commission. He has completed other major murals in Cuernavaca, Mexico; San Pedro, Costa Rica; San Ramón, Costa Rica and at Linfield College. Mills-Pinyas has won two Senior Fulbright Research Grants and residencies in Central America, as well as an Oregon Council for the Humanities grant. He was named an Edith Green Distinguished Professor of Art in 2004. In addition to Linfield College, he has taught at the University of Costa Rica in San Pedro; Instituto Allende in San Miguel de Allende, Mexico; the University of Morelos in Cuernavaca, Mexico; Pitzer College in Claremont, California; and Claremont Graduate University.