As a painter in the 21st century, my relationship with technological images is at once adversarial and completely dependent. Painterly research, once done through excruciating and time consuming life-study and observation, now occurs in a world of what Flusser has called “global telematic dialogue.” This project uses my personal image archives, manipulated images, and photographic reproductions to investigate the fluidity between my own painterly processes and photography, in conjunction with other technical images. Inspired in part by the paintings of Francis Bacon who regularly exploited photography and other technical images within his artistic process, it illustrates the mediated and cyclical nature of artistic production in an age of pervasive image types.

My source image is a photograph I took of a deer carcass in a relative’s garage. My face to face confrontation with the deer carcass was framed, not only through the apparatus of the camera lens, but also through a long-term dialogue with other images, both traditional and technical, which I explored in paintings, drawings, and other media. A dialogue between the body and architectural space is also of central importance. On the horizontal axis of the Atlas, the central images focus on solitary bodies. Moving away from the central image column, architectural elements take more important roles, culminating in the obliteration of the body at the extreme left and right columns.