Sunday Kind of Love
At the Center of the Mystery
About Cheryl Hicks
My “dot” art borrows from the theory of pointillism and the digital effects of photographic half-toning. It is very much a product of pop culture. Covered with one-inch dots cut from magazines, my paintings, which are typically quite large, are couched behind a montage overlay of juxtaposed, equidistant grains. On the physical plane, the painted image lies behind the dot matrix, but at times the viewer’s eye shifts and the dots recede, effectively pulling the viewer in for a closer look at the small, sampled spots.
This visual manipulation alters the original image in much the same way granular synthesis alters an auditory recording. Playing on the visual dichotomy of high and low frequencies, the result is simultaneously a deconstructed cloud as well as a series of individual images spaced at equal intervals, which are constantly combined and averaged by the human eye to create the resulting residual effect.
My text strip collages are pure experimentation. I love starting something new, generating a set of rules, breaking the rules, and moving beyond what I originally expected would happen.