Truly Virtual Web Art Museum - listed no. 1, in Google, for keywords "internet art museum"- 3/2011



Rodney PYGOYA Chang, 1987

(Note to art historians and museums - Written at the advent of personal computers, a little less than a decade prior to the arrival of the Internet.  See below, after a quarter century of persistence, what shores I have arrived at - Rodney PYGOYA Chang, 2011)


During the last two years I have attempted to create fine arts on the computer. The effort took into consideration art history, the history of computer graphics, using today's personal computers, juggling Modernism and Post-Modernism, following contemporary art directions and using a psychology of art.

I , as a computerized artist, am devoted to placing the computer look on its rightful pedestal of fine arts.  Right off, the artist can spend a lifetime investigating the artistic results of simulating past great artist's works, such as Picasso, Miro, Matisse and Van Gogh.  I've done some of that.  It was fun imitating, fantasizing that I was Picasso.  But adding a computer look or interpretation to modern masters is limited.  More excitement came through changing the haphazard  bombardment of phosphorous photons into pleasing aesthetic compositions for the eye. It was only natural that working in Hawaii where everything is bright and colorful may have made my adaptation, even tolerance, of the bright luminance of computer light manageable as an art medium.

Efforts have been made to keep my results broad instead of regional.   What breakthroughs in making art, the burning desire of every serious artist, could I accomplish in the name of this new medium?  Besides decreasing the cultural lag of the mainstream for recognizing and accepting the new in art, I hope my works help others bridge the way into the 21st century, when, I predict, computer art will not only be commonplace but representative culture for the Information Age.

The main thrust of my 2 year effort has been along the lines of-

1. computer graphics that can transcend itself and become "art" through the strength of the images
2. computer art that has its own look or style
3. computer art that is an extension of the media for all artists
4. assist computers to influence the direction of contemporary art

Two years on the computer has made me a better artist.  I can see further ahead when I create and I am not afraid to make mistakes and experiment.  I have a better sense of color harmony and am more spontaneous in staking out a course in the navigating towards the completion of an electronic piece.  I am keen on sprinkling, just like pepper, visual stereotypical icons of different historical styles of art, such as the dots of Impressionism, the modules of Minimalism and even the computer pixels "for pixels sake" - hence my invention of "Pixelsim."

Pixelism is the artistic intent to create manually made paintings replicating the dot pattern comprising the computer image.  Although creating images is quicker and easier for the computer artist, executing the replication in real paint with real brushes CREATES WORK.  The first piece, probably to be completed in a full year, is entitled "Assembly."  It is currently under production and will consist of over 225,000 hand painted 4mm x 4mm squares (pixels) painted with a small pointed brush.  This is probably a heroic feat of craft and patience never again to be replicated in the annuals of painting.  I see Pixelism as the computer's analogy to the grain of photography and the dot of Pointillism.  It claims its uniqueness in history for the particulate building blocks shaped as squares (pixels) rather than dots. Part of the work's appreciation will be garnered from the sheer effort to complete such a painting.  Then there is the mural scale (11' x 6') that magnifies the pixel effect of a small monitor to beyond human scale.  There is also the different effects of the work that is dependant of distance of spectator to object.   One appreciates the pixels up close whereas from afar one impacts with the overall structure of the image, the individual pixels too small to be perceivable.

It makes a lot of sense to me to stick with the computer in the future.   Experimentation in art expand in every direction, creating a plethora of pluralistic works, hard to bottle into discrete cut and dry "-isms".  Hopefully, through working with the medium, I can help wake up people to the fact that the still video image can evoke the emotional response of appreciating fine arts, that is BECOME ART.  Or at the very least, serve as a powerful design tool to serve as blueprint for great art construction in the other more traditional media of fine arts.


2010 Conclusion23 years later, the arrival at this juncture in my quest to develop "painting" in the Information Age using its digital tools.   Before this, in the 1990s, the founding of Webism, taking digital art unto the Internet platform as virtual exhibition space - as contribution to global "Cyberculture."

A possible 2-person exhibit and artists' lectures in museums interested in a show concerning "Art Departure Into the Infomation Age"   Or available traveling exhibition of 6'x4' and larger oil on canvas Pixelist paintings - inquiries: FAX 1- (808)-841-6872 

Pygoya's art life & theories in Russian by university
 instructor Simon Erohin of Moscow University -

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