The foundation of my work is about slowing down and looking closely, but in a positive way. Viewers of all ages and ethnicities will often stop in their tracks when they realize something that looked realistic from across the room is made up of tiny dots. They will then engage in a dance with the painting that mimics my own when I’m creating… looking up close and stepping back.
I begin each piece with the non-threatening theme of “nature” as a beautiful way to engage viewers in a common sense of curiosity and wonder. My process involves the use of reference photos, Golden liquid acrylic paint & square brushes. The brushes can range in size, with the largest being about an inch wide. When I make a mark, the liquid acrylic softens at the edge; tricking the brain into thinking there are dots instead of mushy square marks. To get the rich textures, I’ll often have to build 6-8 layers of dots at a minimum. There is a certain visual energy that is achieved at this level that makes me wonder if there is some light related physics property I’m intuitively seeking.
The biggest reason I connect with pointillism is that I find that most of the moments I consider "happy" have multi-sensory components to them; Wine + candle + music; Ocean + wind + birds. When I can have a painting with texture + near/far experience + visual layers of color, it really dials in to my sense of experiential happiness in a way that can be expressed and shared with others.