It's about a new kind of visual language for the computer.
It's about returning the quality of translucency, which is lost by the printer.
Its about extracting to the two dimensional word, the layered construction of computer images.
It's about subverting the flawlessness of the computer image.
It's about sabotaging the control of the computer and allowing something unforeseen to happen.

I see my work as attempting to build a bridge between painting and the digital image.  Engaging in a dialogue with the way computer images are created in layers of transparent coloured light and viewed through one layer to another to form the whole.  But no matter how many layers there are or  how often re-thinking necessitates
re-working, the final image is still only one layer, one pixel, thick.  There can be no working up the texture of the surface.     

I seek to combine the lush quality of colour, particular to the computer monitor, with a more painterly
approach to materials.  To show the evidence of making and allow for the kind of accidents not normally
associated with a computer capable of infinite reworking and saving of copies.  I don't see the image produced on screen as the final result. I see it as the raw material with which to create the virtual world, in the physical world.

I feel the computer needs its own language, an expression that speaks of its own qualities, rather than imitates those of another medium.  As an artist's tool, it is more than copying the appearance of paint on canvas or
pencil on paper.  Paint is a pigment held in some kind of medium.  Whether the binding agent is egg, linseed oil or an acrylic polymer, the manipulation of the resulting substance, by the artist, is called painting. 
So am I painting?

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