My work considers how digital tools can be used to expand the vernacular of contemporary painting. Although the use of computers is central to my work, I believe it is important to incorporate human gesture, error and chance into its production – to engage directly in the visual corruption that might result when technology and subjectivity interact.
Every action made to an object in virtual space is recorded in the form of a mathematical function, allowing for variables to be changed at any point after they are applied. Each function overlays the previous one in a sequential chain of events; making changes to an earlier point in the sequence causes later operations to become distorted - the individual history of the object altered forever.
Alien structures emerge from these gestural manipulations of geometry. In turn these are used to generate new forms that, although visually unrelated, are nearly mathematically identical. I choose to render these objects in vivid colours to mimic the diffuse appearance of pigment. I like the velvety texture this creates and the reference to physical softness and sensuality.
Smooth, organic-looking forms appear simultaneously as landscape, life form and formal abstraction. Rendered with plausible simulations of light they gain a texture and shape that evokes the impression of a found object.