Greg Herzog's Biography
Greg is excited about sharing his COLOR CODING DNA ®
technique, as he believes that this is truly an art concept and
technique that is completely unique and authentic for the 21st
century that can not be replicated.
Greg has been interested for the last
quarter century in studying the makeup
of individuals and why they do what they
do.

His fascination with predisposition and
authenticity of self led him through
research and analysis to develop a
geometric mathematical equation, where
X # of  points represent the makeup of a
subject and each degree of expression
within the context of each point is color
coded and weighted accordingly.

Greg has done work of such notables as
Albert Einstein, Leonardo da Vinci, Pope
John Paul II, Mother Theresa, Queen
Elizabeth II, Stephen Hawking, Pablo
Picasso, George Washington, The Dalai
Lama, Google, Malcolm X, Nelson
Mandela, Princess Diana, Sigmund Freud
and Vincent Van Gogh.
terms?

This is an actualization of my own vision, working for 30 years in the
field of Health and Fitness and devoting my life to human behavior.

I arrived at my equation in my own personal quest to understand
myself, by researching every possible scientific pathway of human
development, Newton, Galileo, Jung and Max Planck.
If I was represented by a color or series of colors what would I look
like?

It came from the realization that I had certain Quantum traits that
canceled each other out and I simply wanted to see what they and I
looked like through the representation of color. This led me to create
paintings for individuals that have had people close to them pass
away naturally, or in deadly car accidents, as well as a friend that had
a sister that died of placenta previa.

Similar to Hedge Fund managers, Physicists and Economists or the
Myers Briggs model, I use a branch of physics that uses a Quantum
theory to describe and predict the properties of a physical system.

I analyze the Quantum data of the individual or subject, and then I
follow a mathematical model to identify and quantify relationships in
the data. I then write an algorithm to best understand the true nature
of the individual or subject based on the relationships.

I came across this information in my research and analysis, which
describes on a deeper level why people do what they do.

Some would say that an individual’s makeup is all genetics, the birth
order or their environment. But they have forgotten about an X
factor, the true Quantum physics of an individual.

This is where the colors represent the inverse relationship of an
individual’s true nature. Art meets science and mathematics; to look
at an individual at a glance through colors or characteristics, which
from what I understand has never been done before.

Like an ink blot test, the truth is in the eye of the beholder. You will
see what you want to see and you can say what you want to say, but
no one has ever represented individuals or subjects in the way that I
have.

There is the aesthetic value, whether you like it or not and then there
is the authentic value.

Being a behavioral and conditioning specialist for three decades, I am
coming from a place of true authenticity in the development of my
personal vision COLOR CODING DNA®.
How scientists and physicists substantiate the ART of
COLOR CODING DNA®

Can science be used to further our understanding of art?

This question triggers reservations from both scientists and artists.
However, for the abstract paintings produced by Greg Herzog in the
ART of COLOR CODING DNA® the answer is a resounding "yes".

The precise quality and significance of the patterns created in
COLOR CODING DNA® are fractal - the fingerprint of Nature.

The COLOR CODING DNA® painting process is strikingly similar to
the way patterns in Nature evolve. Since its discovery in the 1960s,
chaos theory has experienced spectacular success in explaining many
of Nature's processes. A mathematical system can be designed to
generate COLOR CODING DNA® trajectories where the degree of
chaos can be tuned. Many natural chaotic systems form fractals in
the patterns that record the process.

Nature builds its fractals using statistical self-similarity: the patterns
observed at different magnifications, although not identical, are
described by the same statistics.

We find that each of the individual layers consist of a uniform, fractal
pattern in COLOR CODING DNA®. As each of the colored patterns is
re-incorporated to build up the complete pattern, the fractal
dimension of the overall painting rises. Thus the combined pattern of
many colors has a higher fractal dimension than those of the
individual colored contributions.

In COLOR CODING DNA® the layer Greg paints first plays a pivotal
role - it has a significantly higher value than subsequent layers. This
layer essentially determines the fractal nature of the overall painting,
acting as an anchor layer for the subsequent layers which then fine
tune the fractal dimension.

Greg’s introduction of fractals in his COLOR CODING DNA®
painting process is deliberate. For example, the color of the anchor
layer is chosen to produce the sharpest contrast against the canvas
background and this layer also occupies more canvas space than the
other layers, suggesting that Herzog wants this highly fractal anchor
layer to visually dominate the painting.

Greg believes that his authentic concept and technique COLOR
CODING DNA® is a contribution to the evolution of art.
COLOR CODING DNA®