An artwork of mine is the result of several hours of interacting with my program, making artistic choices from start to finish. Sometimes I spend an entire day with a piece. In more recent complex work, I've spent entire days of an entire week. I decide how to leverage the hundreds of tools I've created from the many thousands of hours I've spent coding. As I build out more to my software, I build out more posibilities for my future artistic creations.
In 2005, I rendered each element in its own way. Each piece of a painting seems to tell me their appropriate style. To the left, notice how the pink seat cushions are rendered with pencil, the floor and background rendered with acrylic paint and ink washes, and the face rendered with halftone. This aesthetic has been carried over from my traditional studio work into my digital work. Whereas previously it was different material, it is now a different combination of algorithms I've written.
I see colors over black and white in my mind's eye. My color sketches are laid down with urgency; a frantic dissemination of acrylics, gel pens, crayons, and pencils over a black and white print on paper. The marks I make are metaphors for more complex patterns and structures that will take shape in later work. Indeed, the same transformation occurs with the original photograph and even with my color choices. Everything becomes an opportunity for transformation from simple to complex. Much of my coding has been done to create algorithms that support this idea.