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The Art and Techniques of Matricism
ByChristian Howard SeidlerEdited ByDr. Jeanne Scott
 
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FOREWORDThe Twentieth Century has expressed one primary achievement for the works of an artist tobe considered "historically important." From my earliest years, my father repeated it and repeated it,"Innovation is the key to success!" It took me forty years, but I have finally created my own style of painting, a gift to leave my profession, and I hope, the opportunity to bring pleasure to those whoexperience my work. Though this is a book about a painting technique, it is also about this artist's journey of discovery and enlightenment. I hope you will enjoy this material and possibly learn foryourself the joys that I have found in painting in a style I have come to call "Matricism," painting the"unseen.”For a simple introduction, may I say that I go by Christian, and I am a painter. I say this inthe most simple terms. I have spent my life learning all the different ways other painters designedand executed their paintings. As the son of an artist, I have been creating pictures for over fortyyears, and in that time I have tried my hand at almost every style of painting there is, from DutchMiniature Realism to Abstract Expressionism. My father once told me, “Son, you’re pretty good ateverything, but a master of none of them,” yet he hated seeing me copy a master’s style. He alsosaid, “Innovation is the key to success!”I was born a dreamer, gifted with enough talent to react, and taught from my earliest years togo out and find myself. One of the problems I faced was that I was from the first generation whohad to seriously consider the possible truth of the famous statement of Motherwell’s: “There comesa time when one reaches the Pacific so to say, and there is no where else to go. This and futuregenerations of artist will have no art of their own; they will only make great refinements on past
 
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styles.” That statement haunted me my entire life, and my goal has been to prove him wrong. Thistext represents my best effort to do so. Though it is up to others to say if I have, it seems that I amcreating paintings unlike any I have ever seen, and they are constructed with a technique that hasnever been documented before. A friend from the Dallas Museum told me that my techniques hadbeen theorized by the early Pointillists, but back then, there was no acceptable art form to apply it atthe time. Remember that back then true modernism had not come into being.I have created this text for the student of painting and those just interested in the art of painting and Matricism. I am not a writer but with the help of family, friends, and associates, Ibelieve that with this book, we have presented proof positive that Motherwell was wrong.You are going to find that this book is different from all the others you have read. I amgoing to show you a new way to use all that you have learned about building a pictorial statementand a new form of color mixing. What we are going to do is dig down to the basic elements of allthe decisions you have learned to make while painting and show you a new way to use them. Thestyle of painting presented in this book goes down to the core of color analysis. Why do we mix adefined color on our palette? Why is it a light color or why is it a dark color? Why is it intense orneutral, why is it red, blue, yellow, or orange? In the past, the answers have always been made on aset of assumptions based on subject matter, be it Realism or Abstract Expressionism. There havebeen three basic ways artists have made color decisions. The primary method used by painters whendeciding what color to mix up has been based on direct observation. Another form is based on thescience or theories of light and color where the artist uses a combination of formula analysis andobservation. The third way that artists have made their color decisions has been through a form of 
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