I stem from a generation that grew up being confronted with the visual phenomena of the computer age, and as a painter engaging with digital culture, I’m transferring those experiences into painting. With my paintings, I aim to portray the essence of the digital. Low-resolution or high-pixelation are key characteristics of digital representation because those are features you won’t find beyond computer-generated imagery.
Initially, digital art is intangible, and as a painter, I am expressing the urge of capturing digital aesthetics with painterly means. So, when you deal with digital images and transfer them into the physical space, you have to start thinking about surface structure and how the materialisation can be achieved. The transformation of those screen-based impressions and the materialisation into physical, haptic existence is one of the key aspects of my work. With my approach, I humanise technology, welcoming the glitches of the handmade – and the error is part of the beauty.