“Filament”, a term that refers to thread-like forms in astronomy, botany, biology, and incandescent light bulbs is a useful concept for a series of works that uses filigree patterns, hinting at shifts of scale between plant forms, distant galaxies and painted marks. It is one way of approaching the question of how “nature” might be visualized with the power of digital tools. The Filament series alludes to the difference between liquid threads of paint spread by the brush and the filigree patterns of digital drawing, the play between physical material and the electronic image. It represents my continuing project of integrating drawing, painting and photography into a digital process, a preoccupation addressed in my book Painting the digital River: How an Artist Learned to Love the Computer (Prentice Hall 2006).The series began as a commission from the London Print Studio to produce four large-scale prints. Beginning with photographed drawings and watercolors, which were re-assembled digitally, the series developed a format where graffiti, folk motifs, botanical illustration, and rapid drawing were juxtaposed. In some pieces, brushes and paints are presented in the role of motifs.

The Filament series consists of large-scale Epson inkjet prints. Each pieces draws from a common set of sources: drawings, watercolors, digital drawings using customized pattern brushes, and photographs of brushes and palettes. Most of the drawing, painting and assembling were done in Painter IX, but Photoshop and illustrator were also used. The main point was to facilitate the integration between physical and digital media to allow for structured but spontaneous improvisation.