Earlier

This is a piece you have to let look back at you for awhile. It’s shy but incredibly forward face takes up the majority of the image and it suggests there may be some unnatural character within the queer and varied vocabulary of digital images. It is a conservative aspect of human nature to think in the maintenance of ones own ideologies and beliefs. However, in just a few generation and indeed within a few years some people have thoroughly subscribed to simulations as their nature. But the vary language used to describe the phenomena uses ’nature’ to describe that which is not nature. The digital image exists between media, there are no standard properties to it besides its translation into a form of display. The collage of referents.

Digital vocation. The digital image has a queer and varied vocabulary.

I was feeling very phenomenological when I did these. I just say that because I was thinking about thinking. I was thinking about painting and collage and how their symbolic vocabularies merge with the digital. The visual symbols of being stretched.. the waves, and the lines are articulated actually in the digital.

What can one hope to achieve with abstraction now that the ambitious motivations of modernism are gone? It was my attempt with these and much of my new work to create more universality in the symbolic referents. The digital affect is embed with a wholly ambiguous natural state. It does not rely on the fibrous texture of paper bits or a palette of paint, it has no state but those which it is designed to translate. These works were made with both the digital and print state in mind as well as the aesthetic vocabularies of a broad public.

By embuing the works with transitional textures the nativity of the piece is called into question. Indeed the work is likely to reveal more in it’s print state as the flatness is apparent rather than necessarily assumed through the screen.

Does digital work talk only about itself or can it speak between media towards the human beings I know.

Choosing to make an abstract piece means making allowances, creating room for interpretation. Its practice is an emphasis on the most ambiguous visual symbols. It tries not to subscribe to any underlying trends while still existing as a contemporary model of something.

I wanted to show an arch. A dip and recession downward from one side of the piece to the other. The flatness of the the line forming the arch can be read as a line graph reminder of fluctuations across a time span.

These pieces in particular became an attempt at universality. By and large the contemporary symbolism was kept from them. and an embodiment of the hybridization process that created them.

I came across the form of these pieces by accident. I used the warp tool on an enormous scale and it created this dip, an arch that stretched everything around it.