“Mickey in Sunset Pyramids”, Children of the 1980’s Series, No. 4, 12/2011

No. 4 was a direct relation to No.3 (Ultramarine Pyramids). I figured on doing 4 color schemes, but quickly came up with another idea for the series instead. This was supposed to be the polar opposite, however the name was going to be slightly different. Because I am colorblind, I am intensely critical of colors and their names. The previous painting, which is in cold colors, are all derivatives of Ultramarine Blue (PB29) mixed with various volumes of Titanium White (PW6). The Pyramid is set up in shade.

Cold Pyramid Make Up

• Bottom Triangle (PB29)  = (ULTB)
• Right Triangle (Pb29 + PW6) = (LULTB)
• Left Triangle (Pb29 + [PW6 x2]) = (LUTLB+TIWHT)
• Top Triangle (PB29 + [PW6x3]) = (LUTLB+TIWHT2)

Because all of these are named from Ultramarine Blue, I could name the painting with the pigment in the title, however for this piece I couldn’t call it one name, because the make up consisted of MANY pigment codes that were not related to eachother.

Warm Pyramid Make Up

• Bottom Triangle (PR254) = (LPYR)
• Right Triangle  (PO20) = (CPCADOR)
• Left Triangle (HR70/Py83) = (DIAY)
• Top Triangle (PY184) = (CADYL)

These colors generally represent something altogether of a darkening shade, so I chose Sunset Pyramids as the title in this. Now why would I get so involved in the title of something, especially when it is in a series? Some times these are just the things that I’m obsessed with, like pigment code, and my own personal code that has a representation on the emotional context of a hue that I can’t see. Its my communication to you, something like, “Yes I may not understand your language, but I’m speaking as best as I can to you”.

The quick reference to the pyramids in the 8bit format generally hone in on the games that were aerial view scrolling on the NES game platform. I remember in my young eyes, looking at these shapes and saying “wow I can almost imagine that pyramid in real life”. Nowadays with the advancement of video games, we really don’t have to imagine, since everything is presented in front of us. I suppose in this retrospect, that these are in homage to the relationship between rough blocky images, and meeting our VG platforms halfway with our imagination.