| Poetry, Spoken Word and Comedy and Song Writing I write poetry, perform spoken word readings and have had the pleasure of collaborating with some of the greatest writers in the world. Painting About the Artist: Bill, a student of the New York School, is an abstract expressionist who takes careful planning and a highly scientific approach in creating action works that are characterized by a strong appearance on what seems to be accident and chance. Bill approaches his studio in a neutral state and selects painting tools, canvas and colors by releasing the creativity of his unconscious mind. Bill draws inspiration from influential abstract artists such as Franz Kline, Willem De Kooning and Jackson Pollock. Bill has performed at fund raisers and his donated paintings are auctioned for thousands of dollars. Bill’s works have been exhibited at class A buildings, galleries, schools, restaurants, and other fine establishments in New York City, Southampton, Los Angeles and Bermuda. Bill has been commissioned by a wide range of admirers from music producers to Wall Street executives to charities. Bill is energetic in donating his works to charities for fund raising purposes. Most recently Bill has painted for the American Red Cross, the Riverhead Foundation and the Rich Cronin Hope Foundation. |
| "What's all this then?!?!" A Statement from the Artist. How would you define “intelligence”? Are you intelligent? The definition of ‘intelligence’ is the ability to think in abstract thought. We measure intelligence with a quotient. The higher the ability to think in the abstract the higher the intelligence quotient. I perform what I like to call “Whole Brain Painting”. This approach requires the stimulation and active participation of the four main quadrants of the brain. Many people are familiar with “right-brained” and “left-brained” terminology. There are actually four main quadrants I need to focus on and stimulate in order to make a painting a "Billy Splatts!" painting. Right Brain Stimulation Quadrant One – Emotional Intelligence Many abstract artists create primarily through the stimulation of their emotional intelligence. Like Jackson Pollack and others of his genre, that was the whole point of their art. They want people to know how they feel or they want people to feel a certain way when they see their works. Fine. No problem with that, in fact I make sure I stimulate my emotional intelligence in each painting I do. I’ll purposefully listen to certain music or have a drink or two to stimulate a particular emotional element. The usual suspects - happy, wistful, sad, angry, but mostly happy. Quadrant Two – Innovator Intelligence This part of the brain is the innovative, risk taking, creative quadrant. It is responsible for gambling, testing yourself, experimentation. It’s what makes you go out on that limb. I like to stimulate this quadrant by using live models or painting while traveling on a flatbed truck or working from different distances from the canvas. It is this quadrant that makes me select unorthodox painting implement such as ice axes, gun barrels, sea shells and pendulums. Left Brain Stimulation Quadrant Three – Judgmental Intelligence Here comes the judge! This quadrant is the brakes on the runaway train. It is responsible for the planning and organizing. It sets boundaries. It makes sure you get things done. Like many paintings, especially commissioned, I like to know where it will hang, what does the room look like, what are the light elements, colors, are there windows? Who will be viewing this painting? What is the motivation for it? What is it supposed to evoke? I need to know about temperature, humidity, viscosity, physical properties and plan and mitigate for changes to any of these variables. Finding out these answers allows me to set constraints and boundaries that will define what colors, sizes and styles I will paint in. If I whip up the variables that take play in right side of my brain into a frenzy, this quadrant will have made sure that the werewolf was locked in the cage before the full moon. Quadrant Four – Analytical Logical Intelligence This is, ironically, the quadrant that I use to evoke emotions in my fans. The cold hard analytical nature of the way I design my paintings are as advanced as anything today. The understanding of the physiology of the human brain gives me an advantage in this arena. I know I have succeeded when a highly intelligent fan makes the statement “I can’t put my finger on why I love this painting but I do.” I’m not going to give away my trade secrets here but I will let you glimpse into two different variables that I manipulate.
unique frequency. This is why there are so many of different shades of color registered at the patent office. Each color is unique in wavelength and the holders of those patents want you to associate that particular color with them only. When the wavelengths of these colors hits the rods and cones of the human eye, that human can distinguish, even at a sub- or unconscious level the difference. If you look at a human brain under an MRI while looking at these different colors you see that different synapses, neurons and dendrites are firing off. This all stems from the days when humans needed to know, in a split second, what that moving brown tuft of fur belonged to. Was it a grizzly bear? Coyote? Rabbit? Mouse? We do the same with touch, smells, taste and sounds. In a room full of crying babies you can tell which one is yours. Using spectral analysis I have created works that aggregates wavelengths to mock the wavelengths of other colors at certain distances. This is totally different then mixing or blending. When, for example, someone walks into the gallery and sees on the far rear wall the giant paintings of a beautiful pink heart and the big yellow smiley face. Then as they get closer to the paintings they realize that those paintings do not contain a drop of pink or yellow. Action Painting – a second variable that is manipulated is the splatters themselves. I make painstaking calculations to determine the type of splat that will be created. This stems back to viscosity, humidity, and other factors such as drying times between layers. Anyone who watches me also recognizes the fractal patterns I use when painting. These are all calculated prior to the painting. When you look at someone view one of my paintings you will see their eyes dart from one splat to another to another. They are actually following the direction, speed and force of the painting. It is as if they are there watching the paint being applied. That’s why it’s called “Action Painting”. From using this whole brain painting approach I create works that stimulate the viewers whole brain. |
| Hey everyone! Many of you ask how a painting comes to be. Well, here is a short pict-o-rama of the creation of a custom painting. Step One: The interview. I feel it is very important to interview the patron of any painting as to what they wan the painting for, what the expectations are, where it will be hung, what emotions they want to convey, etc. I also ask about the physical attributes of where it will be hung - lighting, wall coloration, what else is in the room, the style of the room, what the effects of the natural lighting is throughout the day, etc. This way I get an idea of what the setting is and how the painting needs to interact with it's surroundings. In this painting my patron explained that her significant other is a Navy man and is somehow involved with the mighty Sea Dragon Helicopter. She also explained that this painting will hang in their living room of their new home. The painting will be her housewarming gift to him. Awwwwwwwww... She explained that there will be a nautical/naval theme and the color scheme will consist of blues and greys. So I take a seat at the massive library we have here at Paloma Cove and do my research and set the stage for the painting. Next Step: Prep Canvas and color selection. Now I know helicopters have rotors... ...but I couldn't resist calling her "A Bucket of Prop Wash" Next Steps: Paint, paint, paint... |
