Angel Series
Digital Paintings, 2025.
A continuation of the themes explored in Late Stage Mythology, this work deepens my investigation into how meaning is constructed within the visual noise of contemporary life. Each composition is a maximalist convergence of analog and digital—photographs of my hand-painted and collaged works are reassembled with three-dimensionally rendered elements, forming dense digital tapestries that blur the line between painting, sculpture, and simulation.
Because I was raised within the American Catholic Church, many of my compositions employ Judeo-Christian-influenced archetypes as recurring avatars for spirituality and human longing. These figures appear not as symbols of doctrine, but as echoes of inherited myth—visual remnants through which I explore belief, redemption, and the search for transcendence.
Together, these works reflect the tension between our physical and digital existences, asking how spirituality, identity, and meaning evolve in a crowded, chaotic world where reality and simulation are increasingly intertwined.
For more information:
Morningstar 2025 81.3 x 101.6 cm Single edition giclée print on paper
Installation Concept, 2025.
Extinction Burst 2025 81.3 x 101.6 cm Single edition giclée print on paper
Winters 2025 81.3 x 101.6 cm Single edition giclée print on paper
Queue 2025 86.4 x 86.4 cm Single edition giclée print on paper
Heads 2025 86.4 x 86.4 cm Single edition giclée print on paper
Tails 2025 86.4 x 86.4 cm Single edition giclée print on paper
Details, assorted
Installation concept view
Installation concept view
Groupings, 2025
Process
Digital Art philosophy
My approach to digital art is grounded in an analog sensibility. Although I work primarily within digital environments such as Photoshop, I treat each layer, texture, and pixel as though it were a tangible material—responsive, imperfect, and capable of gestural nuance. Through the spontaneous manipulation of layers and assets, I construct compositions and visual languages that could not exist within the constraints of the natural world.
In this process, pixels become the equivalents of pigment and graphite; simulated textures, dithering, and pixelation operate as analogues to traditional mark-making. The aim is not to replicate the surface of painting, but to embrace the digital medium as a site of authentic expression—where intuition, accident, and material exploration converge in a manner parallel to physical studio practice.
- MC