In the '70’s the technology I used was the loom; in the '80’s, analog photography, Xerox, Diazo, cyanotype, and then laser copiers; '90’s the computer; (scanners and photoshop) and for the last 25 years, digital SLR cameras, then phone cameras and their various modes of still and video and pano, etc. in conjunction with some of the more basic and consistent functions of photoshop.
I use whatever is handy as source material - what I see when moving - walking or in a car or train or plane, looking out the window of my house or studio or anywhere, touring the nanotechnology facility at Stanford, browsing the New York Times. The randomness of what is at hand - literally at eye - is the base. Looking. Is it ironic that these machine-made works have their strongest presence when removed from the screen - when the digital information is translated into pigment on paper, becomes a physical thing away from the machine?
I am not at all trying to make ‘abstract’ pictures of nature or fashion or silicon wafers. It is more like I am trying to see what happens, to look at the relationships between what we see with our human eyes and how technology can digest what it is fed. Much is based on chance.
