In my work I am focused on creating and teaching computer graphics. I am interested in combining the disorderly quality of painting with the precision of a computer, going from traditional media to a code, then back to tradition. It gives me the best means to combine repetition and transformation of images with a more open way of action.
I use a process / product concept derived from science as inspiration for my own and my students’ artistic production. I am working on developing new aesthetic qualities by merging scanned, programmed, photosilkscreened, photolithographed, or otherwise transformed images.
For me, the important feature of the developments in the field is the way how brands and sections intertwine with one another. Every area can fit into another one, for example, 3D graphics and the web.
One could dream about a camera in one’s eye that is triggered by blinking so it captures the scene and the moment exactly as the eye sees it. Also, pictures that are named automatically when one speaks a title. In a dream environment, my work in progress would be projected on a huge wall. And, most of all a free wireless Internet access all over the world: beside every rock and behind every bush.
The ongoing interaction between specific areas of action, for example, writing and visual arts, are decisive for the way the computer graphics evolve, including web advancements and virtual reality environments.
I believe introduction of hidden line removal caused profound progress in creating art works. LOGO and HyperCard changed a lot in education. Scanners, the Internet and Flash were all influential in art and computer graphics.
Atkinson’s work on introducing MacPaint should be stressed here. Charles Csuri brought about a new artistic approach to computer graphics in the sixties and seventies. Chris Wedge’s impressive animations created in the nineties inspired many artists.