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As a professor in �鶹��Ƶ’s , Paul So is a theoretical physicist who specializes in dynamical systems analysis and its application to neuroscience. Alongside colleagues and students, he studies the behaviors that emerge from large populations of neurons, or nerve cells, which carry electrical and chemical signals through the brain and body. 

Outside his role as a physics professor, So is an artist. An avid painter, he also supports developing artists as a co-founder of , a 501(c)(3) nonprofit art incubator based in Washington, D.C. 

While there are major differences between the study of physics and neuroscience and the creation of visual art, there are also similarities. Both practices turn abstract concepts into something more concrete. Neurons receive sensory input and process complex information for the nervous system. Neurons are hard at work whenever art affects human emotions and provokes a response.

We asked So to tell us about his experiences as an artist, scientist, and how his nonprofit has helped support individuals building careers in the visual arts field.

Please share a bit about Hamiltonian Artists, its mission, and the fellowship program. 

Hamiltonian Artists is a 501(c)(3) nonprofit art incubator with a mission to nurture community and increase access to space, opportunity, and resources for emerging artists through impactful programs and exhibitions.

The Hamiltonian Fellowship Program is anchored around a large exhibition space in Washington, D.C. Over the course of our two-year program, the Hamiltonian Fellows are provided with exhibition opportunities and access to a network of mentors: local professional artists, gallerists, museum professionals, academics, and art collectors. 

How did you first get started as an artist? What inspired you to create a nonprofit that supports visual artists?

I began painting as a teenager. While pursuing my BS in physics and mathematics at Harvey Mudd College, I took studio art classes through a consortium available with other Claremont Colleges. I completed all of the coursework required for a BA in Studio Art at Scripps College. However, because Harvey Mudd did not offer a degree in studio art, I was not able to receive an additional BA in that field. 

I continued painting while working toward my PhD in physics and during my career as a professor at George �鶹��Ƶ. When my first study leave opportunity arose, I began thinking about how I might reconnect my artistic interests with my scientific career. Reflecting on my own academic journey, I realized how greatly I had benefited from the mentorship and guidance I received during my doctoral and postdoctoral years. As an artist, I recognized the lack of a comparable career-development support structure for visual artists. 

This led me to consider the idea of creating a “postdoc in art” model for emerging artists. In 2007, with faculty members in George �鶹��Ƶ’s  and several other like-minded artists and arts leaders in Washington, D.C., we founded Hamiltonian Artists.  

As a professor of physics, do you see any overlap between your work in that field and your work as an artist? 

Creativity is one of the most important elements in approaching both a physics question and an artistic pursuit. Although the practices themselves may differ, a good artist researches their subject and approaches their craft with as much rigor as a good researcher in physics. 

At the same time, the two disciplines differ in how they engage with and interpret the world. The strength of the natural sciences lies in their evidence-based approach to understanding the natural world. While insight and creativity play important roles in scientific discovery, the process ultimately relies on the scientific method and experimental verifications. 

While logic and structure are also important in the arts, the creation of an enduring and impactful work of art—its cultural resonance and relevance over time—often depends on intuition and emotional understanding. 

What has been the most meaningful experience you’ve had with Hamiltonian Artists? 

One of the most meaningful and satisfying aspects has been seeing many of our Hamiltonian Artists alumni return as mentors, board members, and supporters. Their continued commitment has helped sustain the organization and guide its journey into the next decade and beyond. 

Have you learned any lessons through your experiences as an artist, or as a founder of Hamiltonian Artists? 

After seeing so many Hamiltonian Fellows pass through our program over the past 20 years, I have come to realize that they are far better artists than I am. I often joke that if I were to apply to the Hamiltonian Fellowship myself as an artist, I would most likely not be selected. 

At the same time, I have developed a deep appreciation for the dedication required to sustain a professional artistic practice. Making a living as an artist is not easy. Many successful, practicing artists hold two jobs: one to support themselves, and another devoted to maintaining their creative practice. The latter often involves producing new work, connecting with other artists, promoting one’s work, attending exhibitions and openings, and participating in the broader artistic community.

Beyond providing the practical tools of professional development to our fellows, I have come to recognize that Hamiltonian also serves another important purpose. It offers emerging artists—many of whom have just completed their MFA or BFA—a supportive space in which to try to build a professional career… [and] a community they can rely on as they continue their artistic journeys.