Bill Dallas was born in Kansas City, Missouri. He grew up surrounded by music Kansas City Blues and Jazz. Although he had a love for this art form, he never focused his direction toward a career in music. Dallas discovered an innate talent and love for painting after his move to Berkeley, California in 1963. To enhance his skill and knowledge, he enrolled at the University of California, Berkeley where he earned a BFA in 1974.
A traveler whenever possible, Dallas has visited 19 countries. During his travels to Japan, he studied calligraphy, woodblock printing and sumi brush painting with Master Artist, Toshi Yoshida.
Dallas is a versatile artist who handles calligraphy, figure studies and abstracts equally well. However, his main focus today is true abstract art. The divine principle of true abstract painting is to be in a constant state of enlightenment, states Dallas. Freedom first, then comes enlightenment, and with that enlightenment, you understand division and separation of the imagination. Try looking in between the raindrops instead of the rain next time.
Dallas’ two-handed, brush-less style of painting is unique. He calls this technique emotional and musical response inspiration he received from both music and life experiences. The viewer will discern the love of gesture, and above all, of the paint itself.
Dallas work has exhibited throughout the San Francisco Bay Area, Texas, Arkansas, Tennessee, Chicago, Virginia and New York. His work is in private collections in Australia, Brazil, Denmark, Japan, Germany, New Zealand, South Africa and throughout the United States.
Abstract Expressionism to Artmatism, Bay Area Painter, Bill A. Dallas has grown slowly in recent years with his new approach, Artmatism (painting music). Justifying a search for colors that would evoke the viewer and take them on a long journey of enchantment, he renders settings of fields, mountain terrains, and ocean seas of restless strokes; inexplicably satisfying the viewer’s appetite.
As his paintings work on your imagination, the paintings suddenly start to insinuate memories of waves of water pouring into the cove below, or walking through a fantasy forest that vibrates with hints of imagery, while carefully and toughly refusing depiction.
And finally to leave a powerful impression of directness, spontaneity and coherence to delight the viewer.