Weathering uses imagery of erosion to explore differences between physical and digital forms of representation. I created a physical painting, digitized this work, and then used a mathematical model to digitally “erode” it, which I re-translated into paintings. The work also speaks to the geological impact of human-made technologies, as my primary image is of the Ducktown Desert Site in Tennessee, a copper mine that was abandoned due to erosion and subsequently overgrown with plant life (note that copper contributes to the materials I use in this project, both computer parts and oil paints). I utilize mathematical modeling, videography, and physical paintings to emulate erosion. My use of modeling expedites the erosion process, thus transcending the limitations of time. However, digital pieces lack the tactility and artistic malleability of the physical artwork, so I was also compelled to create physical work speaking to my artistic interpretation of the mathematical process. I aimed to capture the tactility and sensory feeling of weathering by using paint and other multimedia materials, like dirt. Throughout my project, I grapple with the translation of content between these two spaces. While the explicit texture present in physical work speaks best to my practice/intent, the mathematical framework that is the basis for my digital work affords a powerful mode of temporal flexibility. Used in conjunction, these two forms of representation–painting and manipulated digital footage–allow me fuller and more experiential avenues of artistic expression. The four pieces that compose Weathering are detailed below.