One of the characteristics of my work is making use of the great artistic potentials of new technology while retaining a very painterly, natural-media feel to my work. I am passionate about rich textures, fortuitous abstract paint effects, a dialog between spontaneity and control; the “computer graphics” look simply doesn’t appeal to me because of its flatness (or in the case of 3D work, smoothness), its appearance of being 100% controlled My goal is to create work where the use of digital technology without question brings something new, without sacrificing the richness.
For example a thing that fascinates me is the fractal nature of organic, natural-media work – the majesty and force of a gestural paint stroke, handwriting, ink pooling and spreading on wet paper, magnified many times over. With high resolution scanning, and large scale printing, I can portray the splendor I see in a corroded metal plate. Until 2003, my artistic production was strictly with traditional media (painting and intaglio printmaking); while I loved computers and used them sometimes as compositional aids, the output did not attract me. Then I discovered how much inkjet prints had evolved between 1996 (when I had last tried to do much with them) and 2003. Vibrant, lightfast, high-resolution printing on fine art quality paper…I was a convert, and from 2003 to 2006, while my source material was natural-media (ink and paint on paper and board, manipulations of metal plates, and so on), my output was purely digital printing.
In 2007, I decided to bring my alliance of digital/traditional aspects from the already prominent part it plays in the more conceptual phase of my creation to impinge also on the output stage, integrating digital printing into paintings on luaun panels and mixed-media works-on-paper.
If you're new here, you may want to subscribe to my RSS feed. Thanks for visiting!
