The making of macromacro Art starts with traditional media. The images begin as my original (and some fair-use) black-and-white designs. Those designs are the stencils for hand-printing with a rubber stamp, or silkscreen, or Print-GOCCO, at a very small size. Some are printed directly on various papers, and some on painted grounds and stuff.
The traditionally printed miniature original is scanned at very high resolution, and then greatly enlarged to final print size. I adjust and enhance in Photoshop—till the art goes beyond macro.
One of the things that I find compelling in the process is the way that very simple monochrome, and two-color images, when printed large have a strong graphic impact (as from across the room, or down the street), while on closer inspection, all of the interesting and beautiful details from the enlarged paint and ink come through. The technology opens-up a new way to see small worlds.
CLOSE-UP; INK (AND PAINT); BIG ART
Originally from Miami, I spent three fun and formative years in Providence, two of them at Rhode Island School of Design, during the mid-seventies. Called some Boston neighborhoods home between 1978 and 2020, and currently live-work in East Sandwich, Cape Cod, North America, with the lovely and talented Andria – and our GREAT PETS!
Most of my earlier focus was oil painting, and many of the examples shown here I retain in my collection. I have also printed several art editions by other (not macromacro) traditional methods. In 1984, with a primitive Mac, I began making digital art and have been dog-paddling on that wave ever since.
With haircut – 2021