"The deeper sense of all art is obviously to hold the mind in a state of eternal rejuvenescence in answer to an ever changing world", Hans Hoffman.
In the late 90s, I began to experiment painting with computers. This transitional period - from painting with brush, oils, canvass or glass to computer - lasted several years and did not go by without serious doubts and trials (for some explication of this process, I refer the reader to my Five Essays on Art and Painting). I felt then - and still do to some extent - that computers allow for design and manipulation more than they do for creation. Nonetheless, I eventually became accustomed to this process and discovered that, in spite of limitations, it allowed for an expansion of aesthetic possibilities that I value. Because these works exist in duration; movement, animation, sound, music, story, etc. can become integral. Although it's true that these sensibilities explode the traditional concept of "painting", I personally see my "motionpaintings" as grounded in the formal preoccupations of the modern artistic movement - that is to say, works that remain rooted in that unique stillness (unlike film or video) underlying painting. As in traditional painting, these woks have no beginning and no end. Indeed, their new province may in fact be duration without development. Or, put another way, aspects of 'now' in 'duration'.
Except for the three motionpaintings in the bottom row (these are single screen versions of triptychs), the works here are multi-channel "motionpaintings" (diptychs, triptychs and more) that are meant to be projected on large screens - approx. 9 ft. vertical by 36 ft. across for the triptychs - and synchronized through timecode to loop back indefinitely (I use Dave Jones software and Pioneer DVD players for this purpose, although I think patches in Max/Jitter will offer more elegant solutions in the future).