“The process of creating a digital-original art is fundamental to my self-expression. The decisions and reactions to the collage elements and interactions, are instantaneous. Nothing is precious. All can be undone. I am free and open to respond to new discoveries and to change directions as the new ideas present themselves. After four decades of traditional painting and print-making, digital-painting collage is the most fulfilling creative process I have found.”
Traditional painting has been around for a few hundred years, but digital painting only a few decades. Digital artists are on the precipice of virtually limitless possibilities. I am excited to be a part of the new art movement and to add to the pool of creative digital exploration, and find alternative ways to use applications to create 2D art.
Digital-painting suits me, I love experimentation, process and unexpected discoveries. Even in my earliest printmaking work I used image editing software in non-systematic and unconventional ways. I continue to approach art making with a lot of ‘what-ifs’ I do this? Or that? The process is random and spontaneous. By working digitally, I can respond instantly to a result, saving it for later or altering it. Nothing is precious all can be undone. It is the ultimate freedom for me as an artist to create and respond at the speed of my thoughts. I live for the happy accidents; a new discovery is everything.
My process is supported by foundation in fine art studies, graphic design, and a fascination of more complicated processes, like photography, photo-editing, and my years of block printing and photo-polymer etching. Digital-art exploration is a natural fit it and allows me to draw from all my previous experience to discover new outcomes.
Digital-original art, like photography, begins as pixels of light, stored on a device. It is not a reproduction of another artwork. It is only a tangible form when it is printed on a surface. The subjects reflect a deep love of life, beauty and patterns. A desire to share new ways of seeing and a wish to elevate our connection with nature. My resources are gathered from my rural life, garden and traveling, Canada, USA, Mexico, Europe, Australia and New Zealand. Photographing landscape, seascapes, cityscapes, botanicals and interesting assorted details along the way. There are layers of traditional mark-making and even some repurposed painting. The collection of images are composed and then painted, pixel by pixel, by hand with an Apple Pencil on an iPad Pro 12.9.” No automated computer textures are used.
I choose to design and print art in the portrait configuration because it enforces my vision of the image being a portal, window, doorway. But digital art is not limited size, colour, or substrate. Digital art can be altered as any stage, playing with the colour combinations and saturation; warping, cutting moving etc.The final step is to print it on paper or canvas: as small or large as the printer can produce; and in whatever limited-edition quantity I choose.
I choose abstract-expressionism because it is ultimately the most imaginative for me as the creator/artist. And because it offers the viewer an opportunity to look holistically at the art. Abstraction offers the viewer an opportunity access deeper states of the mind and to elevate thought and the visual process is intriguing to me. A representational artwork is more likely to be quickly scanned for the familiar and recognizable. A condition of a culture blasted by images every day. Our inclination is to process quickly for relevant information and then dismiss it. The same can be said might be said about an abstract artwork that is overly simplified. That’s why I like to lure the viewer in with a few familiar elements.
The viewer should approach the work with an open, meditative state. Survey the entire canvas. Let the images reveal themselves. Stay loose with making associations. Follow the lines, look for the shapes and the patterns. Let the memories float in and out. Feel the joy of colours, their mood and emotions. Discover the hidden. There are dozens of abstract vignettes to be discovered within each painting.
I have chosen colours that are vivid, modern and beyond the ‘colour-values’ found in traditional painting mediums. The printed canvas/print has a wider colour gamut. I’m favouring the vibrant, acknowledging that we have all been swayed by seeing art enhancement by the backlight screens. I choose to embrace the dynamic colour aesthetic of our technological culture.
The continuity is in the layers. The flowing and intersecting composition, is bridged by the woven lines, shapes, textures. Patterns are repeated, arranged and enhanced by the light and darks. Forms are fluid, moving in and out of dominance. The organic lines and shapes, botanicals and patterns soften even the architectural components.
The visual story is an abstraction of familiar forms landscape, botanicals, florals, that blend as if a memory, a dream. A portal/window that transports the viewer into another world. The story is revealed slowly, the communication of Joy, beauty of inviting imagery. Abstracted to entice the imagination, and mystery.