19 x 13 inches
Sometimes I begin by taking photographs and scanning them. Or, information can be grabbed from video tape. “Coastline of Hell” and Contemporary Chaos” originated from video footage from my movie, “Volcano.” The digitalization process turns information, whether it comes from video, photographic replication of the phenomenal world, 3-D computer images or images of space that no one was there to see, into bits and bytes, available to the machine and to the will of the artist. This allows me to gather material from everywhere. All visual forms are available.
Using the vast capabilities of the software, including, but not limited to, filters, painting, color manipulation, selective masking, cutting and pasting and other tools (some not available to physical media) I begin to work in as open and unpremeditated state as possible. I make my decisions visually and intuitively, knowing and understanding the parameters of the areas I want to explore, exploring with the tools at hand, letting the process flow as it does with any other medium.
I use the computer to reveal the underlying structure within forms found in the phenomenal world, be they natural or human made. The computer is like a window through dimensions, allowing vision into the spirit, the hidden realms of nature and the structures of society. It is a power tool of the mind and the eyes that can be used to reveal the infinity within, the roots of natural beauty or the underpinnings of human culture. I used this visual information to create an edifice by which I can suspend myself over the edge and look into the abyss of the yet-to-be-seen.
When the work is finished, it has no physical existence beyond the digital information stored on disk, displayed on screen. This information is used to create a high resolution, ink jet print on archival paper. I use a proprietary paper called Kim Dura which gives an intense rendering of the colors, yet does not attempt to look like a photograph or a traditional print.