Tim Johnson Paintings,Tim johnson, Queens Based Artist



Dr. King

Hoot and Seek

Catherine, The Great


The Marquis De Sade

Silver Marilyn


Josephine Baker





About My Work





The concept for this series of paintings was initiated in 2004 at age 50. I hadn’t anticipated taking the “geometric” route, having labored under a life-long desire to follow in my father’s footsteps as a commercial illustrator. My dad was not supportive of my dream, having been disillusioned by what he termed “a crappy field”.

After graduating from the High School of Art & Design in 1972, I bypassed traditional career moves by not attending college, working low-end jobs, and turning down promotions. During the 1980’s, I supported myself using the now obsolete skills of paste-up & mechanical art in the field of audio-visuals & slide presentation. In the meantime, I took classes at the Art Student’s League while studying anatomy drawing with the late Bill Weltman at his private workshop. During this decade I also executed a number of illustration jobs for clients, though my real break came in 1991 when economic exigency forced me to take a job as a security guard at a well-known art museum.

Being assigned to protect the world's greatest art became a valuable adjunct to my ongoing education. This type of work allowed me to keep my mind free, with more time for reading and exploring the metaphysical topics I had previously kept on the back burner: Among these, I found the science of numerology to be the most fascinating. The system I studied [attributed to Pythagoras], allows the practitioner to calculate and extrapolate the qualities & motivations of any person. A birth date & full name is all that’s required to get started. I began supplementing my numerological profiles with detailed diagrams to help me clarify the sometimes difficult-to-explain dynamics I was perceiving.


When I found out later that the vibration of each number corresponds to a color of the spectrum, I became intrigued by the idea of color patterns hidden within my black & white graphics. This led me to conceive of a form of iconography that would represent the unique vibrations of my subjects. I started using a nine digit grid from a book by Austin Coates as the foundation for my compositions. After several decades of pursuing misdirected objectives, I am fortunate to have finally discovered a form of "illustration" that matches my own frequency.