Statement
I am fascinated by fluctuating states of technology and craft, whether established, evolving, or evanescent. I have identified primarily as a painter over the last four decades, and have combined traditional painting methodologies with computer graphic design elements since 1990.
Increasingly, I use the data files associated with my painting process—raster and vector files, primarily—to create related, tangential objects, such as bronze and glazed porcelain sculptures, robotic drawings, hand-drawn graphite drawings, and Jacquard tapestries. The various manifestations of the data, in a range of media, suggest the mutable, trickle-down, and omnipresent effects of digital information. The works relay the same basic informational “code” with varying degrees of digital and material mediation. Together, they address the multiplicity of expressive possibilities within a limited system that explores the nature of formal repetition, image, and object-hood.
I am interested in the incalculable effects of the rise of digital technology on both artistic production and on the experience of looking at art. My process is a conflation of traditional methodologies and new technologies, of hand-made and digitally produced, of strict protocol and strategic work-arounds, of natural and artificial, and of fast and slow. My work addresses this moment in time, in which we, as a species, are betwixt and between the analog past and a digitally immersive future.
