Collection: [ Painting ] by David Delgado Ruiz.

The Higgs Boson, the glue of matter.

The God particle.

Conceptual Framework.

CERN discovered antimatter. But it was also there that British scientist Tim Berners-Lee created the Internet, the World Wide Web (WWW), in 1989.

But there is a greater discovery.

The Higgs Boson, the glue of matter or "the God Particle."

CERN is the French acronym for "Conseil Européen pour la Recherche Nucléaire," an organization founded in 1952 with the mandate of establishing a fundamental research center for European and, therefore, global experimental physics.

At that time, experimental physics focused on finding answers to the question of what lies within the atom, what the basic matter that forms the entire visible universe is like.

This advance in nuclear physics has deepened our understanding of the nucleus of the atom and matter today. CERN is searching for the most basic physical particle that makes up matter and the forces that act on it.

And particle physics arrived at CERN. And they discovered the glue of matter.

On July 4, 2012, ATLAS and CMS experiment at the Future Hadron Collider and announce that they have observed a new particle in the mass region around 126 GeV.

This particle is consistent with the Higgs Boson theory, but there was still a long way to go to know if the theory described in the Standard Model had been demonstrated.

The Higgs Boson is described in the Standard Model as the manifestation of the Brout-Englert-Higgs mechanism and defines the particle that binds mass together, allowing groups of increasingly larger atoms to form both living organisms and inert holes.

blacks where time is altered as described by Albert Einstein in the "Theory of Relativity."

On October 8, 2013, the Nobel Prize in Physics was awarded to François Englert and Peter Higgs for their discovery and theory of the mechanism that has contributed to our understanding of the origin of subatomic mass in particles and for the recent confirmation of the discovery of the fundamental particle in the entire universe and the vacuum that contains it.

Time is merely a human illusion, an invention born from some deep resentment to measure forward and backward, but an invention nonetheless, like polluted air or a mine-defense robot.

The universe is an intangible that moves in both directions at once, drawing images of the past with every night's glance at the firmament. Yes, what you see is the past, reaching us now as a memory engraved on that timeline.

The passage of time, the different perception of the speed at which it passes, and the insubstantial comparison with the disaster of its absence.

Space. Fullness and emptiness. Visible matter and dark matter, the unseen. The imagined. The intuited and the still. Each star is a memory, an ephemeral still photo that changes and may no longer even exist. A slow-motion video of the continuous past and its constant transit.

From Einstein to Higgs, humankind has sought to demonstrate the smallest in order to build upon and explain the greatest. The universe is finite. But at the same time, it has no end.

Days. Years, seconds, are merely a standard of human quality. A burden from the dawn of civilization. When it was necessary to look to the stars to know when to harvest. The past in the night sky anticipates the sowing season. And that ensured survival.

What good is time if there are not enough hours each day for the production-consumption cycle?

The paintings that comprise it attempt to represent the images offered to us by NASA and the European Aerospace Agency about the past of the universe, slow motion of a sky that does not exist, which confuses our present time with the most remote past.

This series seeks to make the viewer reflect on the intangibility of time as we understand it and the error of confusing past, present, and future as separate entities when they seem more like a continuous, uninterrupted line.

Type of production Technique.

The series comprises large-format works, ranging from one square meter to two and a half meters on each side.

The technique is mixed with a mixture of powdered pigment and various vinyls and pastes, wood and other apparently waste materials crushed and washed.

It is mostly developed on high-quality canvas and Ingres paper. It contains no organic elements.

The series is composed of chromatic groups of white, blue, red, and green, with glazes that, after more than a dozen layers, create a universe of nuances, seeking a hyper-material representation of the image of the atom or the universe on which it is based.

Literature

Higgs, P. W. (1964). "Broken symmetries, massless particles and gauge fields". Physics Letters 12 (2): 132–201.

Higgs, P. (1964). "Broken Symmetries and the Masses of Gauge Bosons."

Physical Review. Letters 13 (16): 508.

Anderson, P. (1963). "Plasmons, Gauge Invariance, and Mass." Physical Review 130:439

Randerson, James (June 30, 2008). Father of the God Particle, The Guardian (London)

Einstein, Albert. Relativity: The Special and General Theory.