Digital drawing allows flexibility and speed, and an ambiguity between drawing and photography.
Source: Beyond The Edge, the art life, 2010-2-16
Link: Rossracine.com
Quotes:
One of the main properties of digital drawing is a virtual, non-material working environment. [This] allows various combinations of techniques and treatments, an ease in modifying the whole image at once, an ease in copying and cutting, moving and pasting parts of the work (within an image as well as between images), the blending of layers of variable translucency, and the creation of copies of the image in progress (to save steps in the generation of the work and to create different versions of a work).
Working in the virtual world also means the image can be altered at any time, even after a final version is established, thus creating a new, different image from a "final" one.
Another property of the medium is its very fast speed compared to most physical media. This allows a very short delay between intention and result, as little time is needed to try out various ideas.
... my aim is to work in the gaps between photography and traditional, physical drawing.
... many people who happen upon my prints think that they are photos, at least initially. ... Viewers in front of the actual prints of my work (24 x 32") are less likely to consider them photographs, as the drawing-like detail on the surface is more visible.
When in front of an actual 24 x 32" print, the viewer has the liberty to look at it from a certain distance to take in the overall composition and then to come nearer to examine the details within each "property", making the experience a more intimate one, almost like eavesdropping.
I value the distant, aerial point of view as promoting an attitude of reflection about the world. ... the viewer of my prints is in the position of the all-seeing observer. The watcher knows some things that the inhabitants of these subdivisions do not. My viewpoint is also that of the planner: the all-over, top-down approach of the decision maker.
There is an obvious criticism of suburbia in my images, mainly through the exaggeration of certain of its characteristics. ... But beyond the suburban example, these digital drawings are a way of thinking about design, the city and society as a whole. I would like my prints to remain as open as possible, to be triggers for reflection through analogy with various aspects of the world.
I am inspired by diagrams, by the means by which information can be represented in visual form. The vocabulary of diagrams can be very straightforward and powerful. I use it for composition and also to imply that the suburbs' contents (material and human), seen from a high aerial viewpoint, may be also considered information.
The word I use for my application of the idea of the diagram is structure. A related concern is the conflation of the macroscopic and microscopic scales suggested by the concept of structure. The observable world has many examples of organizations that are similar at both scales, for example the concentric structure. I am also interested in the implications of living within a specific structure, for example the experience of living in an endless accumulation of haphazardly connected streets.
I am ... open to a science fictional reading of my images and I leave the viewer to imagine possible narratives for an image, if a person is so inclined, but I wouldn't encourage the formation of definite scenarios. This would limit the evocative potential of the image. After all, my prints remain first and foremost images, not descriptions of established stories.
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