My work focuses on stimulating our vision's capacity for conceptual distinctions made by the eye versus the brain. I want to exercise and excite that aspect of the visual process that we utilize to gather, analyze and comprehend all we consider; to stimulate the firing of synapses and the capacity inherent in the visual process to make conceptual distinctions before reaching the brain. These capabilities include distinguishing geometric principles, depth of field, concepts of continuity, orientation in space, movement, positive versus negative space, etc.. I construct an image that will engage the viewer's eye and trigger these capacities on basic levels, with limited recognizable imagery, to dampen input from the brain on the retina. (Past experience and familiar images trigger impulses from the brain side of the visual cortex that affect our perceptions and override the challenge to 'comprehend' the image using observation.) For this reason my images are often 'organic' in nature; plausible as being affected or derived from something governed by laws of nature, presenting a believable 'real' context for the eye to explore and consider without necessarily being specific or familiar.

Currently working with technology as I would any other tool- brush, pen, etc., to make a mark, I am pushing the application of software technology to a point where it becomes visible, revealing its structure and 'natural order'. This methodology lends itself to my pursuit of an image that appears 'real' and engaging to the viewer's eye. (Software applications involve mathematical algorithms as a governing 'code', and when 'pushed' begin to leave various 'trails', marks, and underlying orders that become visible and integrated with the image being acted upon. This emulates dynamics of physics and is consistent and plausible with what our vision conceptually accepts as 'real'.) My intent is to excite, entertain and challenge the viewer's visual capacity and heighten their visual awareness. The contribution of visual acuity for comprehending, experiencing and navigating our surroundings allows for a more fully realized and enhanced connection to our sense of place and self in the 'here and now'.

The resulting works, though prints, cross many borders of definition and defy categorical placement. All images exist in various states - on the computer, or printed on various media at some point in their development. They are combinations and manipulations of various input, whether photos, scanned drawings, paintings or physical objects, along with the resulting images after being manipulated with and created within the context of the computer digital format. They are a synthesis of what I consider to be a painter's aesthetic, combined with a printer's discipline with process. These works are printed on various media and often involved at some point in the process, drawing and or painting, both before and after they were in the digital format and manipulated and further developed. The application of software technology is an integral part of the resulting image which then could be presented, i.e. painted, drawn or printed on various media. I choose to keep the work true to its component parts and in a digital printed format as this is where the art actually culminates in the creative process. I could make a case for calling some paintings, some drawings, prints or photos, or some combination thereof. For the purpose of your consideration I call them "digital images" to avoid preconceptions.