My original and continuing approach to image-making comes from a deep and passionate belief in the value of the picture plane in establishing narrative. 

At some initial point, all compositions are thought of as two-dimensional views of space. Using 3D computer modeling, I will create views of stage sets built completely by me in the computer.  This will include even the arrangement of shapes and areas in the simplest planned collage—all views are taken from objects in three-dimensional space.

All objects, from simple textured planes to complex representational objects, like a chair, or aggregations like a room, are assigned colors and surface attributes, including reflection and transparency.  And with computer modeling, light is cast on the objects from one or several sources of different strengths, with and without shadows, including ambient light.  

This is the critical point in the process where colors are first assigned, and compositions are studied for effectiveness.  

Images from the computer model are recorded much as a camera in the real world, with a view location and direction and lens size. These images are saved generally in a tagged image file format, and using photoshop, are sometimes heightened in contrast and color saturation, occasionally adjusted in hue.

At this point the images created have themselves become digital print art.  

Those that contain a complexity and interest that is brought out by the unique advantages of the computer have been held and then shared and shown in exhibits as digital pieces. Those that contain the promise and kernel of an idea that can best be expressed by hand printing are used as stencils for screen printing or pochoir.

Once the computer images have been adjusted as underlays for printmaking by hand, they are printed by color copy for use as stencils. I will generally create a screen print or pochoir piece using anywhere from six to a dozen separate color layers.  I will use the same computer image for all stencils and color layers--there is no separation by computer into separate color layer image files; the selection of what is cut for each color and stencil is completely arbitrary and determined by my intuition using a single image.  

In some compositions, the selection of color layers into a simple set of assigned colors and what to cut from each stencil is simple and straight forward. In some prints, the original computer image contains complex areas and complex ranges of hue, saturation and brightness. To capture the essence and best of the piece and avoid an excess of layers required, interpretation by me is always essential in the translation from stencil underlay to final handprint.