Copyright Alan McKee 2015

 

Portfolio

  

All my prints are printed on Fuji matte paper on the Lightjet, a digital enlarger that produces a print with the same quality and longevity as a high quality darkroom printed photo. They are mounted on aluminum or dibond and  covered with UV protective Plexiglas. In some cases they are face mounted  on plexiglas. See above for a full screen, interactive catalog of all recent works.

 

Prices quoted in Canadian dollars and do not include tax,  handling or shipping. For a complete price list contact the artist.

 

Custom works are available by special request for designers and architects.

 

 

 

 

 

Copyright Alan McKee 2015

all rights reserved

I was trained by my mother, Marjorie McKee, who was part of the abstract expressionist movement in New York and had one of the last shows at Peggy Guggenheim’s gallery. I was just old enough to meet and have discussions about art with many of her now famous friends, Jackson Pollock, Bill and Elaine de Kooning, Harold Rosenberg, Harry Jackson etc.,  and her teacher, Hans Hofmann.  Most of these people rarely called themselves "artists,"  usually they referred to themselves as "painters." So, because of the way I work and my background, I decided that "digital painter" was the most appropriate term for the digital art I make. I got seriously involved with digital art early on, in the mid 80s, though tools like Photoshop only became available in 1990. The early days were a struggle.

 

Digital art and  technology  realizes the dream of the Impressionists, to paint with light,  and allows us to create works with more vivid colours than was possible before digital art. The  colour space of “natural” media was always dulled by the binders and admixtures necessary to hold the paint or chalk together. My digital art paintbrush is a pressure sensitive Wacom stylus and my digital paints are made of light in all the visible colours of the spectrum. I also use traditional photography tools like my medium format Rolleiflex, and large format Ebony camera. These are my  building blocks in combination with my digital skills.

 

I hope the resulting 'new vision', a term  I borrow from  Moholy Nagy, will engage the viewer to re-look at nature at this critical time of earth changes. I believe the fragility of nature can only be captured fully in this new altered medium. The viewer is caught off guard as he/she is viewing nature but from a new perspective in terms of the macrocosm.