"What draws you to digital? What does digital art that more physical practice is missing."

I remember having some difficulty at first with the digital program. I didn't quite know what to do and what I wanted from because I didn't know its limits. My first few attempts were illustration. One night I sat outside across the street from my day job and proceeded to draw the building, as it looked. I disliked the results, and worse, I disliked the experience. Then on tumblr and instagram I began seeing remarkable images. What was so striking was the feeling that it was purely digital yet also referential but no trace of illustration. This new aesthetic represented a clear break from the past. It was both present and futuristic, strange yet somewhat familiar. There's a great saying, I think from William Gibson, that "earth is the alien planet" and I like that a lot because it addresses the weirdness we have here and also makes it a bit alluring. Maybe one doesn't have to go all the way to outer space after all to truly escape.

"The idea of art within the digital sphere and only in the digital sphere is fascinating. How does working with technology/programs impact your workflow?"

When I found a rhythm with the programs, I noticed that time was beginning to compress and and reorder. I could reach a certain point, use the cutting tool to extract a smaller portion I really liked, and use the reverse tool to bring me to a previous point where I would then paste that item. The programs I use aren't too sophisticated, so it doesn't store the "future" progress once I've gone back and re-edited from a past point. The timeline has been altered to a new path. So I was bringing small slices from the future back so that I could then race forward to the larger future of a finished piece. I also bring items from points in the past that were lost from either being buried or erased to the present again. This altering of chronology adds to my experience and is sometimes key to completing a piece successfully.

Tell us a little bit about the themes of your work, what do you wish to convey?

I am inspired by the tools available in the programs I use, but I also find motivation and ideas from theory and music. A provocative futurism can be found in theoretical literature that emerged in the last few decades and continues through today. And I will listen to techno even from say 2002 or even 1992 that still sounds fresh. Social media has been helpful in putting me into direct communication with obscure electronic musicians. I asked them what were they thinking when they made music and they often answered that inspiration came from the technology they were using, essentially the tools. They were caught up in the same ecstasy of using the gear. I think in some ways, techno musicians and now the current generation of abstract digitalnet artists are like a subgroup of proto-cyborgs, fusing human and machine not to complete routine tasks but to express themselves. The process is not fully automatic, but not random either. It's what I like to call 'technosessed', where a degree is accounted for by the technological, and the rest is mysterious, unpredictable human impulse, as if guided by possession. The union of the two is both harmonious and disruptive.

The reason for my visual melding of industry with abstraction is that capital and technology are seemingly the only revolutionary forces remaining. How does creativity, which has revolutionary potential, compete with other forces that have been allowed far greater momentum? Creativity has to not only be freed but also adopt some of the means (the way Jenny Holzer used electronic billboards in the middle of Times Square to broadcast messages), and go beyond it and maintain a lead. Because how else does one stand a chance against the power of consumer products when the products, like BMW design under Chris Bangle in the late 2000s, started to adopt the sculptural techniques of fine art, and even human physiology, with concept cars sheathed in a synthetic fabric that wrinkles like skin when a door is opened? I think art has to now adopt the industrial techniques and beyond and while we've seen this already in certain pop artists, their baroque kitsch is condescending, so something else, maybe a sharp ambiguous urgency, will take the forefront next. This can most recently be seen in the works of Maxime Guyon, Frédéric Plateus and Anna Uddenberg. If the code of today is becoming indecipherable, we need a new language to respond. And that language can become a dialect.