I find my recent work increasingly affected by the switch to digital tools. As with painting, I still start with a basic skeletal composition which soon takes on a life of it’s own during the execution. The direct effect of the digital tools makes it possible to wander orders-of-magnitude farther away from premeditated plans in relative ease and safety. The new capabilities afforded by these tools are predictably creating an explosion of new forms and expressive dynamics.

While I am occasionally involved with individual and collaborative efforts in ‘new media’, the format I am currently most interested in is the hybrid: applying digital tools to traditional 2d formats. On a physical level, this takes the form of digital printmaking using wide format printers. My images are all implemented using a computer and are realized as prints, either on archival paper, canvas or custom substrates such as linen. My goal is to render the surface afforded by traditional media.

Digital art, when rendered as a print, uses the same ink jet technology used to produce what are called giclee prints. The difference in the case of the digital artist is that the piece was not executed in some other medium first, then scanned and printed.

On a content level, digital tools allow me the freedom to explore and render images in many different modes concurrently. Color field, abstract, cubist, symbolism, impressionism, 20th century pop, 14th century isometric perspective, everything is readily available and fair game as ingredients for the cocktail.

I rely primarily on photographic components but occasionally augment the images using ‘natural media’ tools that model the characteristics of traditional mediums. While I take all of the photos I use myself, I do not consider myself a photographer, either technically or in any sense that the term might apply in the arts. Rather, I use photos more as a found object that I can manipulate for a specific presentation.