The Experiments Continue
One of the reasons that Pointillism is not a popular technique for artists is due to its extremely laborious and debilitating process. I had introduced the first set of three matrix paintings at my Dallas gallery in the fall of 1987. Over the next ten years I focused on experimenting, to see how many past styles of art I could fuse with Matricism. In the following two examples I was exploring different approaches in a style of the American Southwest.
In the painting to the left, called “The Shaman”, my idea is the vision of the shaman summoning the Great Spirit. The energy of the spirit grows and envelops the entity of man.
The painting to the right is called “Spirit Guide”. I mixed a dimensional image of a human within a flat abstract pattern in the Southwestern native block style of symbolism. Here it represents the spiritual entity interacting with the human entity, the movement of the light conveying this activity. These are two very different approaches to a similar message within art of a Southwestern flavor, both based on the theories of Matricism.
One of the learning experiences in working with Matricism is focusing on color harmonies. Every color has a frequency and gives off a vibration. Reds can repel and blues can calm, yellows can excite and green relaxes. It is like music, how notes played together in a given sequence and timing can create beautiful melodies. It is more beautiful to take a note of blue and a note of soft yellow, put them together and let the eye blend them instead of just painting with green. Two notes sound more enchanting than a single note, putting many notes together, creates beautiful music.
The following PDF file is for students who would like to study the techniques of Matricism in more depth. Written in 1991, ten years prior to our robotic initiatives.
