I started exploring dot painting about six years ago, and my technique has naturally evolved since then.

My first pieces were Dadaist-style collages where I used dots as patterns to separate color fields rather than to convey light. As my approach matured, I began covering entire paintings in orderly arrays to soften the sharp edges of those fields. I thought of it as a handmade, mutant version of rasterized 60s pop art prints: a strange mix of French Impressionism and Roy Lichtenstein.

Lately, my work has become even more impressionistic. I am treating everything as light, and those structured arrays are beginning to dissolve. My current goal is to translate the charcoal drawings I’ve been working on into large-scale impressionist pieces.

This shift even has me considering a return to oil paints. I’ve avoided them for the last five years because their slow drying time makes stacking orderly dots nearly impossible, especially compared to the thirty-minute window of acrylics. But now that I am moving away from rigid arrays in favor of a more fluid treatment of color, those technical constraints don't matter as much anymore.

Pictured:

Vessel, acrylic on canvas, 120 x 100cm if I remember correctly but I’ll have to double check later when I’m back in the studio again.

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