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A Portrait of the Artist Charles Midwinter Asimov's Science Fiction February, 2007 Charles Midwinter teaches high school science and lives with his wife and two children in Minneapolis. When he isn't teaching, he enjoys racing around the lakes on his bike, reading and writing fiction, or playing Go, the ancient Chinese game of strategy. Strategy and a possi-ble interest in screwball comedy seem to be in evidence in "A Portrait of the Artist"—the author's first professional publication. Chris is sitting in his chair, looking at the canvas propped up in the cen-ter of his apartment. He spent the whole day stretching canvas, but he has no idea what he wants to paint. His arms are crossed against his chest. His face is slack, tired, uninterested, but he makes himself stare. On the walls hang the many pieces from his pixelism period. Imagine pointillism, but on an absurd scale, and that's pixelism. In pointillism, it's okay to vary the spacing of your dots, and various effects are achieved by doing so. In pixelism, this is strictly prohibited. The dots have to be in a near perfect matrix, mimicking historical computer monitors. Eight hun-dred by six hundred is most common, although a few mavericks have un- dertaken higher resolutions with success. On the wall is a pixelism self-portrait. Chris painted it two years ago, and it has already begun to look like someone else. The lines in his face are deeper than they were then, and he has lost weight. In the portrait he has good color. There is fullness in his cheeks and lips. Now his cheekbones nearly jut out, and he's becoming pale. His blond ponytail has begun to thin. He stops staring at the canvas and rubs his eyes with his palms to scour the pain from them. He stretches, arching |
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