I started off making paintings that incorporated optical effects almost a decade ago. At the time I was masking with tape and eventually I felt the need to make my line work more complex and sophisticated so I started to create the patterns digitally, which I would then burn to … (read more)

I started off making paintings that incorporated optical effects almost a decade ago. At the time I was masking with tape and eventually I felt the need to make my line work more complex and sophisticated so I started to create the patterns digitally, which I would then burn to silkscreens and use the silk screened patterns as the starting point for my paintings. They would all start in a common place and each one would push off of the original digital pattern image into its own territory. Each painting though because of this shared origin pattern carries the same digital DNA so to speak. I've come full circle now, the works started out digital, they were brought into the physical world and painted by hand and then super high res scanned and then digitally painted. A result of this back and forth is that they have memory from both the physical and the virtual. The texture of the spray paint mimics the pixel, the pattern which was once a square of black and white stripes has grown and morphed and replicated into a dense and complex structural system. The negative "stroke" technique which I developed in my painting came from removing parts of layers in Photoshop. These are hybrid objects that live in the virtual while looking back through the screen at their common source cousins occupying the physical realm.