The first three paintings in my “Masters” series showcased Amen Corner — Golden Bell, White Dogwood and Azalea. This year? I decided to move back to one, Tea Olive, and tee up some Seurat stipples.

When a Guggenheim or a Masters painting looms on the horizon, I spend time pondering the approach. Will it be experimental? How can I capture the moment in the vernacular of the year? For Tea Olive, Georges Seurat’s “A Sunday Afternoon on the Island of La Grande Jatte” kept rising to the surface… and so, pointillism became the Soup Du Jour — which roughly translates to ‘soup of the day’, which sounds good, I’ll have that.

If “Grande Jatte” rings a 1980’s cutting class kind of bell… you aren’t crazy. Ferris and co got their Gorges Georges on, during ‘Ferris Bueller’s Day Off’.

Day one marked a simple red underpainting, a basic sketch, and an orange gradient in the sky. This was done with a fan brush… I’ll always be you’re number one fan.

Day two? It was all about more fan brush, more sky, and identifying the green with some lightened alizarin crimson. It was here I decided to commit to the dots… thousands… of… dots.

Day three was huge… as Brooks was building a significant lead, I was piling on the points. I wanted eyes to wander, and colors to build upon each other.

Before our homeboy Rahmbo dropped his final putt, I put the final touches on Tea Olive and slapped on my Herbie Hancock. Painting during The Masters, as always, is an incredible experience. I love the synchronicity — paintings, like a round of golf, aren’t made — they are built.

On a personal note, 2023 kicked-off with four rounds in Florida… my low? An 85… which would have been DFL at Augusta… and trust, Rahm would have shot a 50 on the course I played.

Why do I share? Because I am proud of hitting in the 80’s early, and I’ll never be quitting my day job for a shot at the Korn Ferry. Speaking of progression… here is the entire series.

“White Dogwood“, 2022.

“Azalea“, 2021.

“Golden Bell“, 2020.