When I started working on actual art projects with Dali his "Tristan and Isolde" ROWLUX lithograph was well on its way, but when Dali found I lived in CT and Roland Development, the company that makes ROWLUX was in CT, I became his liaison. This Nude figure formed in the morei of the plastic was proof that the company can make a controled shape in the plastic as Dali wanted his own nude in the wine of his Tristan litho.

Full title "The Feminine Mystique of the Logarithmic"
Powdered marble sculpture
I found a snail sculpture in an old Filene's store and brought it to Dali as a project. I had to get him a dremel tool to work the marble, but it was very hard. After an hour or so at carving the basic female defining shapes into it, Dali signed it and told me to "FIx it". Of course the marble was no softer for me and the object stayed as is.

Fresnel Lens on Deep Rowlux
One of the treasures I found for Dali and I in the Edmund Scientific catalog were severl kinds of Fresnel lenses. The common larger round ones made their way into works like Dali's Marilyn. Others came in sheets and had arrays of fresnel lenses. Since the lenses were formed into squares I suggested that we could make perfect hypercubes with them. Dali cut a few crosses and we were off testing. This was the 2nd and more elaborate ROWLUX hypercube we did.

FIrst test piece for the LEnticular on ROWLUX Hypercube. The depth effect really was quite good on these and gave Dali much pleasure

Gold Rowlux on Silver Rowlux with tints.
Dali made a signature for me on gold Rowlux. I thought it would be great collaged so I cut it out and showed it to him on SIlver Rowlux. He took the pieces, tinted the silver and this is the result.

Here is the first Fresnel lens I brought to Dali where the immense depth of placing it on animated ROWLUX created a large perceived depth

Watercolor underpainting for Rowlux drawing.
In our quest to find the best methods to maximise the depth afforded by the Rowlux films, Dali decided to try a watercolor placed behind a drawing on Rowlux. Once he did the drawing in black pen he asked me to do a rough transfer to watercolor paper. This is the resulting watercolor. The next image is the two combined

With Watercolor Background
THis is the result of combining the translucent ROWLUX with the watercolor. It provided a nice tint to the image

On Durer watercolor of Crab.
I would regularly scour classical prints for opportunities of double imagery for Dali. The crab was a totally different case and I did this image to show to Dali. He loved it, and told me to bring him a print so he could do the "real" image, which he wanted to combine with Raphael's Catherine. Wel...there was no internet and whatever searches I could do would not produce the print. I finally found it about 9 months ago and tried to produce what Dali had in mind.

This is one of two Rembrandt double images I saw and executed for Dali on Rembrandts Self Portrait of Apostle Paul. Dali was particularly impressed with this image but never ended up repainting it

Based on a toy hovercar found again in Edmund Scientific. I bought two and brought them to Dali explaining they can be made into flying eggs. The following story is a great one but the description areas for any image are limited, so I will post it somewhere else on the site in the near future. The car can be seen in action by using the video link from BBC Modern Masters on this page.

Dali agaiin liked the concept and double imagery I found in this little Leonardo print. I had started it and brought it to Dali to complete. WHile he was working on it ( we had done several of these by now) I asked him if this could be a joint project, signed by both of us, to which he was quite indignant, immediately stopping the work he did (very little at this point) and said he would not agree to such an arrangement. I kelpt the painting and later signed it myself.

Rowlux on Rowlux Collage
A variation of this butterfly scene was to be the second Dali ROWLUX lithograph. The wings on the large central "butterfly" (actually a moth) were designed to be formed from Dali's famous melting face, inspired by the rocks of Cape Crues

Likely the most advanced and beautiful of all Dali Rowlux works this Eye was put together with several types of Rowlux, utilizing the different depth aspects of each. The eye cornea was made of a semi-translucent Rowlux which still showed the landscape though it and gave the whole piece a magical appearance. Dali had done a pencil drawing of a figure on the left side of this piece which wore off and was never realized

I lined two horseshoe crab exoskeletons with gold velvet and put an elastic strap in them so they can be held on steady as hats. I made a gift of the pair to Dali and Gala but Gala refused to wear the helmet So Dali and I wore them for the evening in the King Cole Bar, saying they were acient wartime helmets, which had the poer to scare away all enemies

16.5"x23" Oil, acrylic and collage on Rowlux
Classical Dali butterfly landscape execited on transparent Rowlux with oil paint tints and acrylic perspective lines, butterflies collaged into the scent and oil abdomins extended to complete the scene

17"x14" oil, ink and acrylic on Rowlux
Because I had exhaustive conversations with Dali on his christian based paintings which I loved and was emotionally moved by, he did this Christ face as a ghost in the center of this Rowlux piece. The Umber tint and face of christ are in oil. Two saints flank the face of christ in oil. The splatters are both ink and acrylic.

For early experimentation with stereo effects I brought every stereo reference I could find to Dali, he put together a collage with a simple drawing for this piece. Later foe his Knoedler show I'd have to set up stereo mirrors up to 4x8 feet