Johnson's hybrid directed chaos technique is not executed with mixed media, but with mixed technologies. It merges traditional materials, without the use of any standard art tools like brushes or palette knives, with state-of-the-art digital technology. The artist creates bold palettes, then directs the chaotic mixing, folding, stretching and flow of viscous liquid acrylics. Compositions are then chosen from large fields of layered paint films. Unlike what is known as a reproduction (a photographic or printed copy of an original), the selected images are dramatically changed in scale, then digitally recomposed and repainted, taking the artist up to three weeks in a thorough reworking of each image in the computer. The final works printed on canvas have become originals—they exist nowhere else. They are produced in signed and numbered limited editions in very low quantities: only 12–30 prints.

These museum quality Giclée

Presentation: These works are designed to be self-framing—the image is carefully composed to allow it to flow around the edge (side) of the stretcher bar before being stapled to the back of the wood support. The edges of the painting are designed to be seen, rather than to be covered with a picture frame.

Quality, even where you can't see it: The 240 lb, 100% cotton canvas is stretched over custom heavy weight stretcher bars made of kiln dried wood. They are extra wide and deep, 1 3/8" x 2 1/2" with a full-tapered lip for maximum clearance. These are the bars recommended for canvases over 48" in length.

Stretching the canvas over the edges of the frame bars is a delicate matter when the edges are part of the artwork and will not be covered by a frame. That edge must retain a pristine surface, unmarred by the tools used in the operation. The materials and the precise work are executed by Alexander's Framing and Gallery, Rogue River, Oregon.