The humble beginnings of what would become Lucky Seven Scarves began in Chicago in the early sixties. As a young boy I was obsessed with copying the Sunday funnies and doing portraits of movie stars and politicians, so my parents enrolled me in painting and drawing classes at the School of the Art Institute of Chicago. Every weekend I would take the bus downtown and attend classes, then wander upstairs for hours through the museum as I discovered and accepted myself as an artist for life. At the age of eighteen I found my first medium of choice, Prismacolor Pencils, which I still work with today.
For 10 years I worked, traveling widely and showing my drawings, and studying the work of Vasarely, Kandinsky, Escher and Ernst. My imagination became fascinated by the function of mathematics as they related to the patterns of natural beauty. Subsequently, this led me my second medium of choice, and to become one of the earliest adaptors and proponents of computer art. In the early 80s I started programming art on what now can be seen as primitive personal computers. Some thereafter I rented time, and learned to create art, on supercomputers.
Obtaining quality output from computers became of overriding importance for me during those early years of digital art. I initially printed my images onto fabric over twenty-five years ago – using Sony’s Scan-a-mural technology to print my images from supercomputers and Macintosh II computers onto 9 x 12 foot canvases. By further melding of commercial and artistic processes, in 1989 I became the first to have computer-generated lithographs placed into the permanent collection of the Los Angeles County Museum of Art.
In the late 80s and early 90s I found myself in the midst of a period rich in experimentation, exploration and inventiveness of artistic applications in computers. I worked for Apple, Sony, Adobe and several others on the bleeding edge of technology, helping to usher in the color standard of 32 bits that we have today. I joined and brought color to the magazine VERBUM: the Journal of Personal Computer Aesthetics, where we reviewed and displayed computer art in many types of output from around the world. I was founding member of the American Film Institute’s High Technology Council, which set in motion the preservation and restoration of our great heritage of motion pictures, and provided tools and inspiration to a new generation of digital filmmakers and visionaries.
Also during that period I collaborated, interfaced and performed with industry luminaries such as Robert Moog, Todd Rundgren, Ray Kurzweil and Christopher Yavelow in shows, seminars and performances at the The La Jolla Museum of Contemporary Art, The Boston Computer Museum and the NewMetropolis Museum and many other venues.
Since those heady days at the cutting edge of computer graphics, while continuing to create and show my abstract imagery in Prismacolor pencils, I have been showing, creating, designing and teaching computer design coast to coast at schools, corporations and galleries, also serving as an expert witness in a computer art trial. Continuing to apprise myself of the latest and best output technologies in the arts has led me to discover the fairly recent availability of silk that is printable via computer. For the last five years, I have found great fulfillment and joy in creating my Lucky Seven Scarves line of scarves, delivering my art into the world of high fashion.