The Language of Digital Printmaking - Coded Code

  • Transparent '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' it creates.
    To 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 structure.

    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 became:

    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

  • The resulting work is about itself - the viewer connects it to the outside world.

Douglas Sheerer 1999