Digital Paintings

Representation vs. Mutaton 

Still Life 8n.7 (Beaverkill Stream), 2018



In the age of codes, data, and computerized images, the subject/object relationship is more fraught than ever.

An image on a screen, however realistic, has been translated through unknown numbers of non-human languages and technologies. Images that would seem to be a direct view of a landscape or object are therefore products of translation even as they appear to be direct representations of the real. The easiness of the image on the screen allows us to bypass understanding the translations it has been through to reach us.

This series  seeks to recognize and amplify the glitches, translations, and mistranslations that we know happen in digital images but can’t always locate: less an identification of these mutations and more of a celebration.


I allow these two logics of digital images (representation and mutation) to exist in dialogue to create a view of our relationship to digital images that embraces their inherently malleable nature.




Digital Paintings explores the material aspects of photography and painting and examines how they can coexist within one work.

What differentiates photography from painting when they are both used to create worlds that only exist in the minds of the artist/viewer? How can photographs still be considered depictions of reality when digital technologies enable and encourage manipulation at every stage of production? My aim is to question the relationship we have to images as vehicles of truth and to emphasize their inherent mutability. Each piece in this series defines a relationship between photography and painting.