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    Technology & Art

    Houston artist William Betts wins national prize for technologically-advancedpaintings

    Tyler Rudick
    Jan 23, 2012 | 4:30 pm
    • William Betts, DLH 441, 2010, acrylic paint on reverse drilled mirror acrylic
    • William Betts in New York City with one of his "Line Paintings" in thebackground
      Photo by Sara Romero
    • William Betts, Fireball, 2010, acrylic on panel, private collection, Houston
    • William Betts, MIA II, 2011, acrylic on canvas
    • William Betts, IAH, 2011, acrylic on canvas

    The acclaimed arts magazine New American Paintings has awarded its national juried Annual Prize to William Betts, the noted Houston painter and recent interim director of DiverseWorks art space.

    Betts occupies a unique place in the arena of contemporary painting, forging a name for himself in the past decade as a master manipulator of long-established artistic techniques.

    A former software executive with extensive experience in the business world, Betts has has taken the craft of painting into the terrain of 21st-century industrial practice, using a series of mechanized processes that bring into question the very role of the artist in producing painted canvases.

    “I used to work with traditional painting materials, canvases and brushes,” Betts told CultureMap in a recent interview. “But, after my time in the software industry, I was in a different place as an artist. I had to incorporate technology somehow to be true to myself.”

    “After my time in the software industry, I was in a different place as an artist," Betts explined. "I had to incorporate technology somehow to be true to myself.”

    The scenes in Betts' landscape work are instantly recognizable fragments of the everyday, that, in many ways, speak to the artist's former life in tech sales. His scenes of highway traffic, airport runways and faceless motel rooms are familiar yet vaguely unwelcoming, easily discernable yet blurred and distorted.

    Taken from digital surveillance technology or television news briefs, each image is transposed directly onto canvas by the artist's finely-tune studio machinery which he operates with a suite of custom-made digital software. Thousands upon thousands of pixels are converted into delicate drops of acrylic paint and precisely positioned onto a blank canvas.

    Betts, who is represented in Houston by McClain Gallery, also uses these mechanical techniques to produce purely abstract works, creating orchestrated patterns of impossibly fine strips of bright enamel.

    In recent years, the artist developed a process in which he drills thousands of shallow holes into the back of a mirrored Plexiglas panel. Each small void is manually filled with paint to create a pixilated interpretation of a photographic source.

    “In some respects, that traditional intimacy between the artist, canvas and the paint is totally corrupted,” he explained about ongoing technical development. “As a painter today, I like to see how far I can get from those traditions and forms.”

    Betts' schedule is booked solid this coming year, with a show of new mirror paintings starting Feb. 18 at the Holly Johnson Gallery in Dallas as well as another solo exhibition this fall at Albuquerque's Richard Levy Gallery. From May to October, his work will appear in the exhibition Rasterfahndung (Tracing the Grid) at Kunstmuseum Stuttgart.

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    Movie Review

    Five Nights at Freddy’s 2 doesn't match the first movie's enthusiasm

    Alex Bentley
    Dec 4, 2025 | 3:45 pm
    Five Nights at Freddy's 2
    Blumhouse
    Five Nights at Freddy's 2.

    Blumhouse Productions first made their name with the Paranormal Activity series, establishing themselves as a leader in the horror genre thanks to their relatively cheap yet effective movies. In recent years, they’ve added on “soft” horror films like M3GAN and Five Nights at Freddy’s to draw in a younger audience, with both films becoming so successful that each was quickly given a sequel.

    Five Nights at Freddy’s 2 finds Mike (Josh Hutcherson) and his sister Abby (Piper Rubio) still recovering from the events of the first film, with Abby particularly missing her “friends.” Those friends just so happen to be the souls of murdered children who inhabit animatronic characters at the long-defunct Freddy Fazbear’s Pizza, children who were abducted and killed by William Afton (Matthew Lillard).

    A new threat emerges at another Freddy Fazbear’s location in the form of Charlotte, another murdered child who inhabits a creepy large marionette. Mike, distracted by a possible romance with Vanessa (Elizabeth Lail), fails to keep track of Abby, who makes her way to the old pizzeria and inadvertently unleashes Charlotte and her minions on the surrounding town.

    Directed by Emma Tammi and written by Scott Cawthon (who also created the video game on which the series is based), the film tries to mix together goofy elements with intense scenes. One particular sequence, in which the security guard for Freddy Fazbear’s lets a group of ghost hunters onto the property, toes the line between soft and hard horror. That and a few others show the potential that the filmmakers had if they had stuck to their guns.

    Unfortunately, more often than not they either soft-pedal things that would normally be horrific, or can’t figure out how to properly stage scenes. The sight of animatronic robots wreaking havoc is one that is simultaneously frightening and laughable, and the filmmakers never seem to find the right balance in tone. Every step in the direction of making a truly scary horror film is undercut by another in which the robots fail to live up to their promise.

    It doesn’t help that Cawthon gives the cast some extremely wooden dialogue, lines that none of the actors can elevate. What may work in a video game format comes off as stilted when said by actors in a live-action film. The story also loses momentum quickly after the first half hour or so, with Cawthon seemingly content to just have characters move from place to place with no sense of connection between any of the scenes.

    Hutcherson (The Hunger Games series), after being the true lead of the first film, is given very little to do in this film, and his effort is equal to his character’s arc. The same goes for Lail, whose character seems to be shoehorned into the story. Rubio is called upon to carry the load for a lot of the movie, and the teenager is not quite up to the task. A brief appearance by Skeet Ulrich seems to be a blatant appeal to Scream fans, but he and Lillard only underscore how limited this film is compared to that franchise.

    Five Nights at Freddy’s 2 is better than the first film, but not by much. The filmmakers do a decent job of making the new marionette character into a great villain, but they fail to capitalize on its inherent creepiness. Instead, they fall back on less effective elements, ensuring that the film will be forgettable for anyone other than hardcore Freddy fans.

    ---

    Five Nights at Freddy's 2 opens in theaters on December 5.

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