Computers have their own quality of space. The depth seems infinite. Layer upon layer can be created so that, when viewed through one layer to another, only the merest trace of a mark might be seen. Or something might be glimpsed through or round a line wandering across the foreground, which meanwhile, is slipping out of the picture plane. The spaces between are as physical as the forms. It's bringing that play between space and image into the real world, shaping its transparency, laying layer on layer, making the transparency in the image, a positive element, that my work is about.

I am convinced that digital technology, used as a creative tool, has to take a step away from copying tools artists already use. The computer must find its own
language that speaks of its own qualities, rather than imitate those of the past. 
Using digital technology to produce
images that look like drawings or paintings is just reinventing the wheel.

By using the pigment alone and building the picture in physical layers, I remove the infinite reworking and undoing usually associated with computer images and reintroduce the tension between control and accident.  I endeavour to subvert the flawlessness of the printer image while returning the
quality of translucency to the colour.