My practice relies on the integral relationship with the visual and virtual, how it manifests itself into creative spaces and how it influences our practices whether it be hidden or apparent. My paintings are material translations of virtual photogrammetry scans using LIDAR technology that I access through a novel mobile lens. I digitally manipulate these virtual spaces, translating and augmenting these realities using oil paint on raw wood, where the ground’s unpredictable grain mirrors a glitch-like distortion. My work often questions the restrictive nature of gallery institutions and the capacity of media circulation. In the words of David Joselit, ‘Images might become forms of currency that do not conform to the monetary (like many forms of communication). Because they emerge in an “information era” where documentation is virtually inherent in the production of art’. My work considers how image reproduction is forming its own rapidly evolving language, prompting a redefinition of site specificity and how visual art is disseminated. No technology is confined to gallery formats; there is space for the digital in painting and painting in the digital, these paintings exist as my own rendered reproduction.
