Painters over the centuries sought to advance their capabilities to create an ever more realistic representation of what could be seen, but began to experiment with the nature of the paint itself and other purely aesthetic concerns regarding shape, texture, color and form (to name a few). Similarly, this work breaks off from the pursuit of the "best image possible" into an exploration of the formalistic attributes (and conceptual implications) present in the emergent technology of digital imaging itself.

 

 

 

 

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