Digital Installation- still image
(2021-2022)
In my traditional practice I begin by constructing the ground itself. I glue sheets of paper together, pressing and layering them until they form a single, resilient surface. This act is already an accumulation of time. The board must settle before it can hold an image.I then sketch and slowly build the composition layer by layer. Miniature painting is an act of endurance. A single image can take months. The surface is developed through repetition, through the discipline of dot after dot, line after line, placed with a single hair brush. The image does not appear all at once. It grows. It is cultivated.
When I moved into digital installation, I did not create images digitally from scratch. Each element was still made by hand. Drawings, painted fragments, marks and textures were produced manually through the same meticulous process that defines my miniature practice. The labour remained physical. The time remained real.
Photoshop became not a tool of invention, but a space of composition. In the digital realm I am able to layer these hand made fragments, rearrange them, test relationships, build and rebuild compositions without losing the integrity of the original mark. What once happened only on a fixed board now unfolds across multiple digital layers. The ancient logic of layering transfers into a contemporary structure.
To arrive at one final image, I often produce dozens of drawings and painted elements. The mark making itself is slow and deliberate. Each fragment carries hours, sometimes days, of concentrated labour. The digital process does not replace this slowness. It extends it. It allows me to consider composition in a fluid way, to shift scale, to overlay memory upon memory, to create depth through transparency and repetition.
Miniature painting has always been about accumulation. About patience. About building meaning through persistence. In the digital installation, this philosophy continues. The layers are no longer glued paper but stacked files. The board becomes a field of light. Yet the devotion to process remains unchanged.
What appears as a still digital image is in fact the residue of many drawings, many painted surfaces, many decisions. It holds the weight of time within it.
The tradition is translated and I enjoyed that process. And the hand is still present in every mark.
(2021-2022)
In my traditional practice I begin by constructing the ground itself. I glue sheets of paper together, pressing and layering them until they form a single, resilient surface. This act is already an accumulation of time. The board must settle before it can hold an image.I then sketch and slowly build the composition layer by layer. Miniature painting is an act of endurance. A single image can take months. The surface is developed through repetition, through the discipline of dot after dot, line after line, placed with a single hair brush. The image does not appear all at once. It grows. It is cultivated.
When I moved into digital installation, I did not create images digitally from scratch. Each element was still made by hand. Drawings, painted fragments, marks and textures were produced manually through the same meticulous process that defines my miniature practice. The labour remained physical. The time remained real.
Photoshop became not a tool of invention, but a space of composition. In the digital realm I am able to layer these hand made fragments, rearrange them, test relationships, build and rebuild compositions without losing the integrity of the original mark. What once happened only on a fixed board now unfolds across multiple digital layers. The ancient logic of layering transfers into a contemporary structure.
To arrive at one final image, I often produce dozens of drawings and painted elements. The mark making itself is slow and deliberate. Each fragment carries hours, sometimes days, of concentrated labour. The digital process does not replace this slowness. It extends it. It allows me to consider composition in a fluid way, to shift scale, to overlay memory upon memory, to create depth through transparency and repetition.
Miniature painting has always been about accumulation. About patience. About building meaning through persistence. In the digital installation, this philosophy continues. The layers are no longer glued paper but stacked files. The board becomes a field of light. Yet the devotion to process remains unchanged.
What appears as a still digital image is in fact the residue of many drawings, many painted surfaces, many decisions. It holds the weight of time within it.
The tradition is translated and I enjoyed that process. And the hand is still present in every mark.