Newsletter of the LA Underground Art Scene
Final Thoughts on Dotty’s Dots ‘n Dashes                                By Eucalyptus Ike
Exercise on White on Black
Exercise in White on Black No. 2
Exercise in White on Black No. 2 provides additional
evidence of the meticulous effort Dotty’s art has come to
represent among aficionados of his work.  Furthermore, the
maze pattern here is entirely consistent with the conclusions
following my thematic analysis presented in another part of
this preview.  Life requires problem solving; that’s an
inescapable fact even for an amoeba who takes up art
criticism.  Life is a puzzle, a conundrum,  a mystery, a tale
told by an ‘idiot full of sound and fury.’  Since Dotty’s work
is about life, especially the enigma of life in all its complexity,
it can not be fathomed by an amoeba posing as an art critic,  
just as no monkey is ever going to write a symphony, and no
ape an epic. I predict—let me say that again—I predict that
when Dotty’s work receives the crescendo of attention it
deserves, there will be few objections indeed to the merits of
his masterly craftsmanship, and, let us say it loud and clear—
his genuine genius.
Dotty’s "Exercise in White on Black"  presents the viewer
Circles within circles, touching other circles peripherally,
interposed, interconnected, growing in and out of one another,
forming, and reforming, in a tantalizing display of pattern
stretching inward toward the center of life: a kind of light,
slightly bent, whitened gray crack. The image is digital and
mammalian, with five finger-like colonnades looming up and
outward to the top, left and right borders, bracketing the larger
set of two breast like prominences almost palpitating in the
foreground.The allusion is arresting and breathtaking, the
illusion mesmerizing and beguiling, drawing one in, luring
one, toward the concentric center of a mind at peace, restful,
yet abundantly prolific, transcendent, and calm.This is Dotty’s
epitaph, his headstone, a deep part of him coaxed to the surface
through meditative contemplation.
Here we are all taken beyond the concerns of our trepidatious daily routines, beyond the hassles, the rigamarole, the petty
irritations of freeway and supermarket lines, the bills, the mortgage, the kids, the in-laws, the medical minutia mounting as
we monitor our aging morning administrations, the taxes, the termites chewing away each day a little more of the very roof
over our heads, the mongrels baying their political slogans, the crooked judges, politicians, CEO’s, NCO’s, CFO’s, LLP’s,
DVD’s, RPG’s, etc. [Editor’s note: Ike wanted to add another page to this list, but I talked him out of it.] A highly magnified
view of this image reveals the hundreds of thousands of individual dots, like cells,  that form the basic units of the design.  
Think of it: thousands and thousands of meticulously placed units of paint of an exacting consistency in shape and size, not a
single one positioned randomly on the canvas. Imagine yourself bent over the canvas placed horizontally so the paint won’t
run, imagine the series of routine motions repeated over and over again, day after day, for hours at a time, in order to
complete the image.  Imagine the cramped fingers, the pain in your back, the strain on your eyes, and you will have some
idea of the amount of effort, determination, and skill Dotty’s work requires.  Now magnify that by the number of paintings
that have appeared in this preview…and what do you get?  Critics who have panned Dotty’s work can’t carry a candle
without complaining about it. This trio of twerps;Yak Von Prattle, Snoop Driblet, and Sangfroid Uppity; couldn’t  describe
the paint left on Dotty’s palette, let alone evaluate the quality and quantity of his artistic merits.  If your own dribble of word
piss looks to you like an ocean view, what can the rest of us expect from you? These three couldn’t pick a winner if all they
had to do was pick their nose…Uppity himself has admitted elsewhere that he needs the publication to qualify for
advancement on the pay scale at Fort Huachuca Community College.  Does anybody even know where Ft. Huachuca is?  
Personally, I doubt if Uppity knows. It is also well known that Driblet makes his living slinging hash in a greasy spoon in a
hick backwater in New Mexico, and  the only thing he ever painted was his finger nails.  Once asked if he had ever viewed
Raphael’s  
“Madonna With Child,”  Driblet replied, “No, but I saw he once on stage in Phoenix.” So much for his
encyclopedic vision…