The connecting thread among much of my current work is that a computer was involved somehow in the creative process, either in a compositional fashion or as a compositing tool for "handmade" images. This rather pragmatic analysis has led me to cognify a digitality in the the work that has become a formative part of my aesthetic of some, but not all works, specifically a body of works I am calling "Volumetric Gestures".
The visual language of these works speaks in terms of the bitmap and the vector as well as form, line, gesture, and action; the aesthetic could be called "digitalist" perhaps, since "digital" simply describes a binary transcription.
After completing a series of images working with 3D wireframe chalice forms, I was introduced by art historian Andrew Hershberger to the wireframe goblets of Paolo Ucello, hand-drawn in pencil with machinelike precision by the artist in 1450. This closed a circle for me, and made me realize the circularity and connectedness of time and thought.
In the incorporation of technology-based art media in my studio practice, I feel there is a new modernism which I seek; one which escapes the postmodern loop and lives in the moment, a place beyond context. Data has been aestheticised, and aesthetics have been coded; we as artists are in a position of responsibility to leave some artifacts behind. The physical and data objects which I create are documents; created equally for the self, the stranger, and the process of creation.