PAUL COLDWELL                                                                                                                                                

I came to the computer, as with most of my generation, from a background schooled in traditional practice, in my case sculpture and printmaking. From this perspective I have a need for a physical engagement with the making of a piece of work and a belief that each piece of work demands its own scale and weight in order to engage with the audience in a way that is meaningful to the intentions of the work. Increasingly, my attention in making work using digital technology has been on the surface and looking for ways in which I can use the advantages of speed and image manipulation that this technology offers, without loosing the personalised surface that is a characteristic of traditional practice. I will be exploring this with particularly reference to the half tone dot, as both a means of asserting the physical surface while also forming a screen through which to enter a deeper illusionist space.

Links

The Integration of Computers within Fine Art Practice:

www.research.linst.ac.uk/integration

Digital Responses:   

www.vam.ac.uk/vastatic/digitalresponses/

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