Digital Technology is still controlled by human programming creating invisible spaces; a virtual reality where restrictions within objects are unknown. Numerical or symbolic coding makes technology seem perfect; digital images can be manipulated to alter imperfections. These adjustments can corrupt data, making it unreadable. The visual perception of these undefined areas becomes difficult to resolve, creating visual confusion which can be unsettling, but frees us to respond expressively.
The idea of coding can be referenced between digital and human coding DNA. Exploring personal and impersonal data systems via the internet and data storage; tampering with the code to create new information beyond our focus. Deconstructing a JPEG image to its raw form by hacking digital code, this creates shapes and isolation between figuration and abstraction. Corrupting an image to generate intentional imperfections, a glitch which evolves; creating a transformation to its original form.
My technical support oil paint corrupts the surface; revealing an essence of figuration. I began exploring the division between digital and analogue colour, which generates depth and texture unknown to a digital surface. Abstracting visual perception by using intentional brush marks to suggest figuration to the direction and proportion, reflecting in ways in which skin moves and circulates. I started to fragment my painting through traditional malfunctions, until the abstraction becomes a direct translation between each painting, unable to suggest a portrait or landscape.