Nicole Conn’s Pointillism Inspiration: Randy Glass

Randy Glass is the pointillist artist who was responsible for all the “pointillism” art pieces in “A Perfect Ending.”  It was his version of art that inspired me to make Paris a pointillist artist.  Randy is one of the nicest, sweetest and most courageous men I have ever known.  You may remember seeing the portraits of “little man” Nicholas and Gabrielle in the film as the camera pans over to Paris & Rebecca during one of their stolen moments.

paris-at-her-art-table

Paris (Jessica Clark) is a gifted pointillism artist in ‘A Perfect Ending’.

Due to losing sight in one of his eyes this past year (please see story below), he has decided to sell some of his celebrity portraits to help cover his staggering medical costs.  This artwork is exquisite and his “style” is seen throughout the world in the iconic Wall Street Journal Weekly portraits he has rendered.  He won a Pulitzer for them.  Please join me in spreading the links of his portraits and please take a moment to view his exquisite art.

xo Nicole

 

BACK TO THE DRAWING BOARD by Randy Glass

 

I have loved drawing for as long as I can remember.

I was the kid in school over in the corner with a sketchbook, more comfortable with a paintbrush than a baseball bat. I’ve worked as a freelance illustrator since leaving college, and no one has ever loved their job more than I do.  

Last summer, while enjoying “The Dark Knight Returns” at the Cinerama Dome inHollywood, I became aware of peculiar, split-second flashes of blackness in the corner of my left eye. I didn’t give them a second thought as they intermingled nicely with the film’s visual magnitude. But as I left the theater I noticed that a small, solid crescent of black had formed. By the time my eye doctor returned my (probably frantic) phone call later that evening, the shade was completely drawn: My retina had detached.

The biggest challenge has been regaining my skills as an artist. 

Without depth perception I no longer had the simple skill of bringing my pencil or pen to meet a drawing surface with accuracy. As an artist I have always been a perfectionist, and I want each dot or marking I create to have a specific relationship to the rest of the drawing. I’d been doing this for so many years that I no longer thought about the process; it had become as second-nature to me as breathing. For months I spent several hours every day attempting to create the simplest straight lines or groupings of dots. I was proud of what I’d accomplished one day and wanting to throw in the towel the next.

I think I’m a pretty upbeat guy by nature, but the uncertainty surrounding my ability to work made me awfully blue at times. It didn’t help that during the months I worked to regain my skills, I was unable to accept new assignments.

After several months of painstaking perseverance I finally became somewhat comfortable with drawing again. Around this time, the Los Angeles CountyMuseum of Art contacted me about creating a portrait – in my signature style – of the 16th century artist Caravaggio, which they intended to enlarge to 14 feet for the entrance of their upcoming retrospective exhibit. They offered me an unheard of six weeks to complete the portrait, so I took a deep breath and said (gulp) yes.

I rendered his likeness slowly, meticulously, one facial feature at a time. When I finally sent the completed portrait to them and received an enthusiastic thumbs-up, I felt like Rocky Balboa on the top step of the Philadelphia Museum of Art.

A year has passed since the original mishap and I am happy to report that I’m back to work as an illustrator, full time and at full speed.

I am confident of the quality of my work and continue my perfect record for meeting even the tightest deadlines. I’ve taken on some really great illustration projects lately and things are looking up. I breathe a deep sigh of relief every day.

A few weeks ago I underwent one final surgery.  My doctor felt that with a full year of healing behind us, some additional tweaking might bring on a partial resolve. There’s no good news to report yet, but I have been advised, once again, to give it time.

As I continue to heal and renew my business I am also dealing with the financial strain brought about by the events of this past year and the many months I was unable to work. Unemployment insurance is not available to the self-employed. Most burdensome of all are the extraordinary medical expenses tied to my three surgeries, plus enduring treatments and medications – many not covered by health insurance.

I’m eager to get on with things…move forward…

And – that means doing what I can to free myself of this fiscal dead weight. Taking on extra work and spending my evenings and weekends at the drawing board isn’t making enough of a dent, so I’ve decided to try a more proactive approach.

I have a rich inventory of original artwork here in my studio representing more than thirty years of illustration, and I’d like to invite you to consider these drawings for purchase. My work has been available through galleries in the past, but now I am presenting the collection online – directly to you.

If any of these opportunities to own a Randy Glass original interest you, please contact the Studio via phone or e-mail and we’ll make arrangements for payment and shipping.

With this effort to share my artwork with you I am looking forward to taking a much needed deep breath, and with my handsome eye patch in place – getting back to the drawing board!

 

Randy Glass | Studio

818-985-3776

www.RandyGlassStudio.com

randy@RandyGlassStudio.com

 

 Pointilism

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