of Digital Printmaking -
'computer code' , is the under lying drawing to that which is finally
viewed at the interface - the product of a series of hierarchal
language instructions and translations.An
'artwork' can be the underlying 'pre-definition' of a symbolic representation,
rather than the intended manifestation itself.
I choose the code or aspects of the code as the 'final' symbolic
work, a backward glancing representation of the 'graphic image'
the newcomer, this visual dislocation may share more with the renderings
of Stockhausen, Japanese Etenraku or the late John Cage, than with
a more traditional visual language. We
may experience and marvel at music notation even when we are unable
to comprehend or translate even just an extract from its intricate
It exists as a movement - a time based drawing awaiting its proper
translation and rendition - Awaiting its 'transparency mode' to
fulfil the ambiguity of human taste.The
Coded Image - an Abstraction was the title to my solo exhibition
at Galerie Düsseldorf in Perth, Western Australia, in 1994.
Through that group of works I examined connections between what
computer code officially does, what it can arbitarily do and what
it can be made to do.
Through a network of instructions and random interfaces the print
An 'image of the remote'
A 'pre-interpretation' of a symbolic representation.
A 'critical complex' made ready for interaction.
Computer code still plays a significant role in my work.
I have moved on from combinations of binary zeros and ones through
elemental instructions and complicated sets of algorithms, to a
transparent object code on object code.
I have moved into a
CODED CODE ZONE.
The resulting work is about itself - the viewer
connects it to the outside world.