 Petunias, 2004 |
 The Herb Bed V, 2003 |
 Autumn Wildflowers Near Centenary VII, 2002 |
 Under the Mimosa, 2001 |
 The Pine Grove, 2000 |
 Logging Road Near Woodridge, 1999 |
 The Old Dogwood Tree, 1999 |
 McDaniel's Low Grounds III, 1998 |
 The Herb Bed II, 1997 |
 Black-Eyed Susans and Day Lilies, 1996 |
 The Ivy Bed, 1996 |
 Pond at the Crews' Farm, 1992 |
 Logging Road Near Gray's Store, 1991 |
 Persimmon Trees at Mt. Pleasant, 1991 |
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"Chromatism" is derived from the Greek word for "color", khroma. Chromatism recognizes that a visual image in the human eye is composed solely of interacting points or areas of color. Like Divisionism, it attempts to create a more powerful image through the careful application of scientific principle. Chromatism, however, takes advantage of the century of neurophysiological discovery which has passed since Seurat.
A visual image is composed of innumerable tiny points of red, blue, and green in varying intensities. The brain takes two of these images, one from each eye, and combines the colors in patterns of secondaries (cyan, magenta, and yellow/brown) and further composites. The tension of two slightly different patterns, interacting and changing constantly, gives us that vivid sense of visual reality which cannot be found in any photographic image.
I cannot reproduce the size, intensity, overlap, or movement of the visual patterns, so I must resort to a collection of careful tricks to imitate the experience of vision. The science of the eye is not enough of a guide: above all, I remain committed to synthesis, compromise, revision, and approximation.