As a student, Young studied physics and chemistry well before his attention turned to studio art. Instead of studying figure, ground, and gesture, Young studied the atomic and chemical compositions of life. He learned about the perfectly balanced and formed multiplex structure of all life on earth and the extreme interdependence of all its variations from a molecular to a macrocosmic level. He studied the Newtonian mathematical equations, which govern all matter, motion, space and time. He saw the chasm between the underlying harmony and regimented nature of the underpinnings of existence and the chaotic and discordant way in which human life unfolds. In his painterly practice Young sought to bring some order to this confused and tumultuous world. His melodious compositions are always balanced, no color or brushstroke vies for attention with another; like nature, all the work’s components function in concert with each other. Young’s seamless melding together of colors and shapes transforms his paintings from collections of individual expressions into singular images. From a human perspective, nature appears as an anarchic, violent battle between competing species, but from a scientific perspective, it becomes clear that nature is, in fact, a perfect communion of life and matter. It is the latter perspective that we see expressed in Young’s work. His paintings are the aesthetic delineations of his scientific knowledge and, ultimately, his worldview.