Featured in this post are works from my Cajal Inventory. The forty-five drawings are 11" x 14" each and created through a combination of the following materials: graphite, ink, pen, marker, and acrylic. The drawings are biographical of Ramón y Cajal and my creative process within this project, i.e. some works are my notes from Dr. Augustine's Fundamentals of Neuroscience course that evolved into completed drawings. Cajal's biographical portraits are comprised of Cajal, his wife Silveria, and their children.

I view my new drawings and paintings as educational tools that address art, history, and neuroscience. After I read his autobiography, Recollections of My Life, a part of me felt like some critical aspects of Ramón y Cajal (his humor and how he imagined himself, particularly in his youth) were absent from the mainstream discourse patterns about him. My artwork highlights his personality traits and his private value system, essential to his unique scientific insight that led to his great discovery: that the nervous system is comprised of individual, independent biological units, i.e., neurons. The images here are a fusion of surreal and hyper-real portraits, domestic scenes, and recreations of Cajal scientific drawings. I have reconstructed his scientific drawings by studying his actual work on display at the National Institute of Health, Bethesda, MD. I have also re-created some of his lost childhood drawings based on the description in his biography.

When I recreate his scientific drawings, I draw the whole situation of each drawing. Shadows cast from the drawings are included, as are the boundaries created by the mats. I do this because his drawings were constructed with unconventional formats. Not only does this approach make spending long hours researching and drawing his works more creatively interesting, but more importantly, it serves to emphasize the content and context of his research.

I have been fascinated with the combination of complements in my visual art. I have applied this to the form (color selection and composition) and my Cajal Inventory's content (opposing personalities). In color theory, it is said that complements incite maximum vividness or annihilate each other.​

Cajal's marriage to Silveria Fañanás García is an example of a highly functional complementary pairing. In choosing a mate, Cajal selected a woman whose character attributes were what he perceived to be a "perfect" complement to his. In doing so, he believed that their union would be a great accomplishment or matrimonial disaster. He said publicly that he would not be Cajal if it were not for his wife, and he credits her much with making his work and the depth of his research possible. She incited his maximum vividness.

This work celebrates Cajal and his birthday (May Day). I am symbolically mirroring Cajal's application of complementary contrast in his marital union. Therefore I elected to use (as defined by Johannes Itten) a harmonious hexad comprised of three complementary pairs of hue from the color wheel: blue-violet and yellow-orange, red and green, and yellow-green, red-violet. Integrated within the pageantry of images are Cajal's neural drawings, May Day flowers, and Cajal's portraits of his wife, Silveria, and their children.

A selection of seven works from an earlier phase of this series is currently on view alongside Cajal's scientific drawings at the NIH's John Porter Neuroscience Research Center. Learn more about that exhibition here: National Institute of Health Santiago Ramón y Cajal exhibition and symposium.​