The visual dialogue between painting and digitisation has developed gradually in both the works methodology and imagery. Work made through 2005 – 07 responds to the impact that digital media has had on visual culture and the politics of technological exchange

The method of making is itself crucial to reading and experiencing the work and the way in which images are modified suggests the underlying habits and repetitions that inhabit any painting practice (embedded in the surfaces) as well as taking a critical position on technology’s impact on aesthetics. The work focuses on the translation of original digital images that are produced by deconstruct images and text in PhotoShop and the resulting hybrid imagery is at play somewhere between the defunct boundaries of the purely abstract and figurative.

The motivation to make these works is a desire to invent and realise visceral painted images that take on board the limitations of practices in both painting and digital media. How one might negotiate a space for painting at this critical moment, when the limits of the organic body are being profoundly tested by technology has driven the practice towards ideas on corporeality and haptics (meaning to ‘feel’ with the eyes) that consider painting as an engagement with multi sensory, tactile and virtual experiences: A platform from which to consider the conditions of painting in a dialogue with the digital.