Synthesizing traditional painting techniques with a computer-based compositional methodology, my work explores the intersection between digital technology and painting as a craft. I am intrigued by formal systems; how complex visual relationships structure our thinking and create experiences that are difficult to interpret or describe. Questions about how images function as physical objects that convey virtual information are central to my practice, as is how information in such contexts is mediated, communicated and defined.
Like tuning an instrument, my initial process is experimental and intuitive. I use design software as a drawing tool, which allows for the spontaneous and immediate manipulation of color and formal structure. Having access to a composition’s modification history facilitates non-linear decision making, and I intentionally set up compositional systems that are easily manipulated using digital tools. Only after rigorous intuitive analysis and choosing from hundreds of digital sketches do I begin crafting the physical painting.
Dividing the process into stages, I begin by applying a thick gestural layer of impasto with acrylic modeling paste. The image is then painted by hand with thin layers of oil paint, carefully blurring the edges where shapes meet. The visual effect is a constant shift of focus between two distinct visual phenomena – the underlying texture and the painted image. This simultaneous experience heightens both the physical properties of the paint and the image’s transcendent qualities. Similarly, the discordant alignment of image and texture challenges a viewer’s expectations of the painting’s history, requiring them to question what they’re seeing and thinking.