I am an artist and a technologist. I am developing a vernacular of digital mark making and abstraction that conflates traditional, analog and digital painting.
I began my current body of work by looking at satellite images of glaciers on my computer screen and selecting specific locations. I paint and layer the elements digitally: intuitively changing textures and colors and forming an abstract synthetic landscape. I bring an expertise in digital image processing to my studio practice and it informs my perception. I prefer to reveal the residue of the processes. Compression algorithms leave their artifacts. Physical blooms, cracks and brushstrokes echo natural phenomena. The synthetic mark is also my mark. Computers and surveillance equipment are in my studio toolkit alongside brushes and paint. This body of work has grown out of a culture of digital technology.
The work is about impermanence and loss: both personal and global. After researching archives, and making the digital paintings on screen, the imagery called for the kind of materiality only offered by physical paint. I approach painting as an amalgamation of digital and direct wet strokes into layered surfaces. The painted lines are like the contrails of my creative process over the terrain.