Each GIF that I’ve downloaded that I decide I like, or can use… it’s more like, can I use this in some
way? I cut out frame by frame so it has that jagged edge. That’s also animated as well as the content.
Then, I bring them into a program like flash that has a stage situation and I place them on the stage
and then it becomes like just pure intuition! There’s either something formal that can accidentally
happen, that excites me…But it never is just purely formal because they are pictures of something. So
they are not abstract necessarily. Yet, people have made arguments that they are abstractions in
some ways because of the disassociation from their backgrounds, from their context. So, it’s that
MIX into a new context and negotiating relationships between images both in terms of the content
and the movement and the background and the edges and how it occupies the white spaces… it is
just as important as the black space – the background, is just as important as the foreground. So it’s a
level of technical complexity, which I love. I love doing it. I don’t always know what I’ve done until it’s
finished and I’ve looked at it for a while. So the intention is… I don’t work with a narrative in mind, I’m
not a narrative artist that’s why the things are perpetually looping. So there are no literal meanings to
it. It’s about relationships.
Well, it’s more that most of the time it’s, look at that in relationship to that! There are very few art
pieces that I’ve done that are just as single GIF. It’s almost always a relationship between images, a
We’re talking about surface, we’re talking about, you know, an aesthetic- like pixilation as an
aesthetic, there’s texture – this illusion of texture. Depending on the source material, because the
photo based GIFS, their film based and video based, are from all sorts of sources and so the quality
of light is different in all of them. So that’s also another part of the composition. It’s deciding what is
working with what? In therms of… It’s not like I’m trying to match (laughing) a quality of light or
texture as a matter of fact. And I did paint and I may even paint again someday. So there’s that
concern of color and texture and composition. I mean solid, pictorial (laughing) stuff that really isn’t
radical at all.