not MICROPOINTILLISM...this is
Having spent the last few years delving into the electronic medium and
creating 'virtual' images using the three primary colors, I find
that I have become restless. Radiative
Primarism is all very well, but after a considerable time
mastering this three color process in this medium the need to get paint on
my clothes beckons.
My excuse for this move became practical when I met David Popa who is the
owner of Galarie
Blu. Until recently, his gallery had been in the same location as the
now defunct Xochipilli Gallery, a gallery that I had been associated with
for many years. However, this Birmingham gallery is somewhat small as is
not suitable for larger pieces, so when David invited me to see his new
space in Pontiac, I was very impressed. It had lots and lots of room; I
decided on the spot it could hold eight paintings about nine by seven
feet, and that's what I was going to paint. As I mentioned before, I had
the itch to do some 'hands on' stuff again, only this time I wanted to put
my knowledge of primary color into use by going to the opposite extreme.
Much - most - of my paintings are done in a style of painting I call
Micropointillism. These paintings consist of small spatters of primary
color, the overlapping of which produces all the secondary colors.
is a personal frustration, but I've always felt that the bulk of my
audience see the color and shapes in my paintings but fail to
appreciate that the paintings are conceived and created in only three colors. I think
that to some degree, this is why I want to try my hand at
a process that I've dubbed Macropointillism. Rather that small microscopic
dots, each daub of paint is roughly the size of a quarter. The
nature of this kind of painting would lend itself to more simple subject
matter, as any attempt at images of great detail would call for surface
areas several magnitudes larger that the images I am now attempting.
David Popa and I have agreed on a November exhibition. This gives me just
enough time to dawdle for a month while I toy with various subjectmatter,
ultimately culminating in a frenzied panic-like state; my optimum
conditions for creating inspired work.
I have to confess, I now find I have a weakness for the electronic medium.
Being bathed in radiative light is very, very addictive and chances are
good that I will procrastinate in front of the screen. In order for this
not to happen, I have installed a webcam - an on-line video camera - which
is installed in the far corner of my studio so all and sundry can
stare over my shoulder at will. It is my hope that it will force me to be
there, ensuring that my shoulder will be there to be stared over.
far I've experimented with a six by four foot canvas; barely enough to do
some color tests on. However, it helped me create the correct thickness of
paint with which to work the canvas in upright position without the paint
running. Ive resolved translucency issues that I had to sort out. Most of
all,the test gives me a sense of the 'dance'; the feel and movement that
is so important for the creation of exciting, energized effort. Why, I
should be able to dance why I work - the scale is so big - I can really
Should you get a chance to look in, please drop me a line and say
"Hi!" I will check my email from time to time during the day and
I can hear the 'puter down stairs when it chimes, announcing the advent of
a new message arriving.
Though there's a very good chance I'll be conversing with whoever reads
this page before the event, let me invite you to my opening. I'm told it
will be the first Friday of November, but please check back with me,
'cause I'm not completely sure.
Also, if you want a sneak preview, there is every likelyhood that one of
these paintings will be in the June show at the Galerie Blu; I'll keep you
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