Analogue was an early principle for me; I don’t make a difference anymore with digital these days. If you watch how digital painters work today on a graphic tablet – with brushes, colours, etc. –, there is no real difference with ‘usual’ painters. Max Ernst and early collage artists were using what they had on their hands, and I’m quite sure that they wouldn’t have used vintage magazines if they had been born today. If you have something to say, whatever the way, say it and say it loud.
Concerning animation, I worked as a film editor in Paris for a while in my twenties, and the way I do it is very similar to the primitive animated cinema. Frame by frame, kinetic. And also, because of the limitation of the file size on the Internet years ago. You had to get what you wanted and a good flow to illustrate an idea with three, six, twelve or twenty-four frames per second, not more.
In this digital era, when everything goes so fast and people switch from one thing to another every second, a simple animated gif can make you stop for a few minutes. A pause in the rush to stop and think. The way I use digital is somehow the same, cut and paste like scissors and glue. But when I have to work in the rush of twelve hours for a New York Times commission, for example, the digital is way more comfortable for concept and image research. Especially the ‘undo’ option.