The assimilation of computers into humanity’s cultural fabric has created an interest in what I see as a correlation between computers and painting. They both utilise codified information and abstract data; both are storage devices and retrieval systems; we see the viewer as user interface; they use partitions to order and relay information.

The dawn of the electronic media age began a cultural shift from the modernist grid’s determination of projection and representation to the fluid structures and circuits of the network. 1971 was the year that radically altered the world of computers, how they manage and process information due to the invention of the microprocessor.

The cultural artefact of the computer is a starting point to investigate virtual space as non-place. The space the paintings are representative of is hidden from physical view and separated at some distance from both the artist and the viewer.

 In conjunction with the conventions of painting, the works incorporate the use of both the analogue and the digital. It is commonplace now for humanity to access information through the aptitude of remote viewing; most things are now mediated through the computer terminal.