Artist's statement

I am a digital painter exploring the new medium of vector. My work develops in cycles from figurative to abstract and back to figurative. They are like poles of a magnet. I see a painting as a reflection of the soul. Only if the soul is deep enough the painting will be deep enough. If I look at a painting, depth is really all that matters. Of course the painter’s own soul is in the painter’s blind spot, and we are all covered by the veil of time, so I will only talk about vector.

Hard lines, monochrome colors and perfect gradients limit the emotional palette of vector. ‘Ceci est un oeuf’ (2015) expresses my initial dislike. Still, Vector is the only cooperation between the artist and the computer that offers a new language of form while leaving the artist in charge. On one side we have digital raster painting, where the artist is fully in charge but forms are in no way different from traditional painting. On the other, computer generated painting such as fractal art offers renewal, but the computer takes the lead. These images are impersonal and repetitive and in my view emotionally void. Compared to our own, the soul of a machine is a flat and flimsy thing.

I have been trying to give vector some of the soft nuance and broader range of expression of raster. Also for a practical reason, since working in vector would relieve me from the enlargement of raster paintings which is always a lot of noncreative work. I restrained colors to a minimum of black-and-white gradients, sparsly supplemented with one or two monochromes or gradients. With these clair obscurs I became more or less comfortable with vector, especially with my latest work: Waiting, Diner, Thoughts, Rainy day, Woman, After sunset.

Fortunately the joy is in the making not the selling. I am grateful for the recognition of three honors from the Museum of Computer Art (MOCA) and a Lorenzo award for digital painting at the Florence Biennale in 2015. To promote understanding and straighten out some general misconceptions about digital painting I wrote ‘Digital Painting, explained and illustrated’ (2013-18) which is now in the Public Domain and can be freely used at

December 2018