The majority of the work I do at this present stage is done with digital processes, using a variety of editing apps. The contradiction I try to describe to people is this; I am hardly a digital native and I am not, in the traditional analog sense, a photographer, but I use these means to channel content with the sensibility of my past and present memory as a painter and creator of images. I regard myself as an inspired amateur who uses the world of images as a mash-up to create a lie that tells the truth, to paraphrase Picasso. My practice contains many of the liberating flourishes of postmodern multiple meanings, quite easy to achieve with a digital cutting tool, blurring, filtering and image distortion. In my work, I always hope to recreate this flux of the contradictory and merged meanings using images that are randomly and intuitively sourced, photographed and manipulated. The collective or social identity of these is not important as I prefer allusion to didacticism. The spiritual source of my imagery has always been the traditional mixed with the new. The energy of alternative and experimental music, Dada, Surrealism, the beautiful, dark spaces of Spanish Art and Dutch Still Life, the color and spatial invention of German expressionism, the conceptual inventiveness of Pop Art and Text Art, and incidental beauty of everyday shapes and forms. The lens of the roving smart camera has broken down barriers. I cannot underestimate how important it is in my work as a treasure trove of visual information, no matter how small, that ends up in my work.
