As a painter
I was looking for something new, that is when I began to experiment with design software. I wanted a way to draw that was fast and changeable. I wanted to make or invent images. What I discovered from trial and error was a mysterious set of images that intrigues me to my artistic core. I still I am not sure what I see in these images, but as an artist I intuitively know that something is there, that these images call too me. I began using the images for painting taking them to yet another level another transition. Then I looked at the images as prints, photographs and found that they offered another medium. Soon I was making digital prints. I really did not know how I felt about the process. It is mechanical, it requires a machine and for me the computer became like a camera and the dark room only far more diverse.
My work, Transgressions of Form is a group of digitally manipulated images of the human form that explore the transitional states of the process of their invention. I wanted to find a new way to generate images, a method that interrupted my preconceived ideas about the figure. At the same time, I wanted to create images that moved me, stimulated my feelings, and my desires about the human form. I began to experiment with a Panorama Maker program that was bundled with printer software and Photoshop. My Idea was to stitch images together not to make a panorama but to make or invent new images from familiar, expected forms. I tried many different kinds of images and found that the nude human figure worked, while other images did not. Starting with various images of the figure, I manipulated them in Photoshop. The simplicity of the human form allowed for the creation of complex images that did not contain too much visual information so as not to overwhelm the limits of the program and the image. As the program reads all digital information in the image and this can result in too much visual detail. The human figure because of its smooth surface and varied positions is less complex digitally and at the same time contains complex variations created by movement that are natural to the figure itself. Taking combinations of manipulated images, I load them into the program and transform them into new images. I would describe the process as random, by chance like using a slot machine. Images of chance that often do not result in successful expectations. Other times the result is an abstraction that stimulates the visual senses of memory about the human form that perhaps recalls hidden, repressed or forgotten memories of human desires of the flesh. Images, about the secrecy and beauty of our own personal experience and our expectations of intimacy with the human figure.