No, not MICROPOINTILLISM...this is MACROPOINTILLISM.A view of my studio - the big white beginning!
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.
Primary colors - the only ones usedThis 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.

Paint daubs - the hand gives you a sense of the scaleSo 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 move around.
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 posted.

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