2013- present. Taking reference photos directly from paintings in my series of abstract landscapes, I digitally distort the imagery through software and then used this image as a point of reference to physically paint another work. The work begins and ends with the brush, having the digital process be a catalyst, or control point.
Deeply textured mark making adapts to the warped, skewed and distorted imagery it depicts. The barite medium acts to emphasize the thickly stretched, ropey brush strokes, as if the painting itself has been pulled through the reality of digital manipulation. The warped imagery is both a guide and a constraint- requiring at times the use of very large brushes and forceful mark making techniques. The result falls in-between the painters hand and the demands made of the digital distortion.