|What would I be able to express in traditional painting if I were confronted with the task of depicting something that speaks an unutterable language? For the photographer, the answer might be concealed in the medium itself. Photosensitive emulsion on a surface, for the artist, becomes the membrane onto which the vibrations and impulses, the ambient and potentially indefinable can be registered. However, habitually working in black and white, the photographer begins to feel the limitations of photographic paper, the restrictions of size and finish tend to render the image two-dimensionally. But, photographs also have the ability to be at once physical and spiritual. In this sense they approach painting, merging with the artist's inner gaze. For the painter, the method of applying an image onto canvas using only a brush and paint can become restrictive and stale. To combine photography and painting is to possess the image and to be possessed by it at the same time. Photographic clarity is disrupted by the application of paint to create a medium that pays homage to an artistic heritage, whilst creating a new and powerful visual language. Here begins the paradox involved in using photography and computers (which are based in technology) to make a painting (which is traditionally not technologically based). It is precisely within this narrow crevasse between painting and photography that I work.