In conversation with artist Matthew Gray Palmer, it is easy to get a bit lost when he describes the thoughts and meanings behind his art, mostly one-of-a-kind stone, steel, wood and bronze sculpture. Yet this complexity explains why his art has such great appeal; there is so much going on under the surface that the viewer is drawn in and makes a personal connection. It is obvious that Palmer is very intelligent, a deep thinker that draws from his artistic senses as well as science and mathematics to create his art. He continually explores concepts such as duality, transcendence, and metaphor in his work. Palmer said “themes that appear in various ways throughout my work include harmonious resonances, complimentary structures, the interface between apparent dichotomous relationships such as bodies/space, predator/prey, birth/death, charge/magnetism, quantum oscillations in space and time – and the levels of perception that this duality breaks down to become unified.” Combine this type of thinking with the artist’s sense of awe and wonder at our natural world and the result is brilliant. Matthew Gray Palmer began to think big at an early age. By age twelve, he was creating life-size creatures out of masking tape and newspapers in his basement. He later was selected to participate in the vocational fine arts program at Fort Hayes Metropolitan Education Center in Columbus, Ohio. Opting to pass on several major merit scholarships from various art institute’s around the country, Matthew decided to get his training hands on. Working full time at Old World Stone Carving for six years, Matthew gained tremendous experience designing and executing commissioned sculptures and architectural elements. He became skilled at using a variety of traditional media, including stone, marble, clay, wood and bronze. In 1995, he started Parallaxis, an endeavor dedicated to educating people about natural science and conservation through public works of art and multimedia events. Matthew currently maintains a studio on San Juan Island, Washington, where his commissions range from miniature to monumental in scale.