This painting series starts off with photography. Using a macro lens, I photograph different parts of the human body. Then using a mathematical formula in a 3D software, I manipulate these photos into an abstraction that does not read as human skin, but that conceptually has a weight that influences the whole series.  I then print the resulting texture on adhesive canvas. This allows me to play collage, to cut, manipulate, and mix with paint. For this painting process, I use my knowledge in Photoshop, working on layers, where I can undo easily, resulting in multilayered surfaces that both reveal and hide the process of their making.

While I love the freedom that comes from using photography and digital formats, I am also devoted to printing’s unstated challenge to the dogma of painting. By creating some of the content of my paintings on the computer, I’m in one way rejecting the expressionistic dictate that painting is a direct extension of the body. But then using traditional painting to blur the digital, I am back to the direct body extension towards the canvas.

As much as the work I am doing with these textures appears to be other-worldly, it is connected to the human body. It is not crucial for the viewer to know this, but it is intrinsic to my understanding while I create them.