In my creative work I am generally striving to challenge or expand upon the intended use of consumer grade imaging and image processing software. I try to interpret and present aspects of the analog world through the eyes and brain of digital technology.

My approach combines chance with deliberate editing, using the tools of digital technology to discover something  I have not seen before, or something oddly familiar.

In the work where I use image samples,I start from the physical world, 'taking' photos or letting digital devices record something in general. Then I use structured systems to digitally reduce the image to its minimum before reconstructing and intersecting the parts.

In the 'time-lapse panoramic work, I am experimenting with the panoramic photo setting on the phone, watching what it does when the subject or the device move in a linear or random manner rather than turning the device in the prescribed circular way. Many pictures are still taken sequentially, but not in a way that represents or tries to reconstruct 'reality'.

The 'composite' pieces are the results of further experimentation; removing, replacing and systematically  integrating segments from more than one original file.

When the digital work is completed I bring the information back to the physical world by making a print, mounted and presented as a formal object, referring both to original source and the technology which processes so much of our visual and conceptual experience.

I do have a background in weaving and textiles in addition to photography and film, which may be what drew my interest to the parallel structures of weaving technologies and the digital grid.

I am constantly surprised by how a binary technology is able to determine something of an essential quality, to allow me to find a nuance of color and light from the objects or places I scan or photograph. This is what propels me to continue my experimentation, along with my inclination to take things apart, and put them back together in another way.

About the work

Shell Composite 3, 2016. 99 x 99 inches, in 9 panels (shown in sequence from left to right, top to bottom)

“I'm an eye. A mechanical eye. I, the machine, show you a world the way only I can see it."

--Dziga Vertov