Holding on to Grace
Three-Dimensional Pointillism.
The struggle of painting without using toxic turpentine lead me to a discovery. It has been over a decade that I have been mastering a new technique that contains vibrant bold primary colours in a textural pointillism style, with individual dabs of paint rising in sometimes spiky protrusions from the surface of the canvas. Applied overtop a flat underpainting that suggests the finished work, these dollops of paint (actually individually laden brushstrokes) produce three-dimensional pointillism, and each serves to capture light and/or create shadows, depending on how light strikes the surface. The paintings look like they have little jewels applied all over the surface, and have rich, tactile quality with rhythm and symmetry. The ultimate goal I wish to accomplish, mastering my technique is to be able to captivate the energy of an inner glow in each individual painting and find it’s unique pulse.
The struggle of painting without using toxic turpentine lead me to a discovery. It has been over a decade that I have been mastering a new technique that contains vibrant bold primary colours in a textural pointillism style, with individual dabs of paint rising in sometimes spiky protrusions from the surface of the canvas. Applied overtop a flat underpainting that suggests the finished work, these dollops of paint (actually individually laden brushstrokes) produce three-dimensional pointillism, and each serves to capture light and/or create shadows, depending on how light strikes the surface. The paintings look like they have little jewels applied all over the surface, and have rich, tactile quality with rhythm and symmetry. The ultimate goal I wish to accomplish, mastering my technique is to be able to captivate the energy of an inner glow in each individual painting and find it’s unique pulse.
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