I remain indifferent to the fact that my digital work has rarely, if ever, been seen. Mostly unpublished, unexhibited, sequestered in the opaque recesses of the digital ether since 1994 - stored, not for recognition, but as autonomous data relics adrift in a boundless void. This is the reality of digital objects: a realm where pushing the boundaries of art outweighs the quest for recognition.

My datasets are a testament to the necessity of risk, of experimentation, of rethinking painting beyond tautologies. To exhibit them would be to freeze them in time - a premature crystallization of their potential. For now, they belong to the digital space, unbound by the commodification of the public gaze. I am not afraid of failure; in fact, failure is the threshold to the most exhilarating breakthroughs.

My early digital paintings are analogous to an Ab Ex cascade of vibrant color shimmering in their digital directories like bold gestures. Each file is a meticulously named artifact, each directory a microcosm of a vibrant, self-contained digital landscape where image, process, error, and regret coexist in a fragile balance.

I spent countless hours immersed in the manipulation of Adobe vectors and pixels, a dance of deliberate chaos and controlled virtuosity. I pushed the tools to their limits, precisely orchestrating 'signature' styles that were as random as they were calculated. Digital artboards were not conceived not as spaces in which to reproduce, redesign, analyse or express a real or imagined object, but as ab ex arenas in which to act. What was to be computed on the digital canvas was not an image but an event - the absurdity of the human gesture with the loss of metaphysical chance operations. The real meaning of this art is not to be found in individual files or thematic folders, but in the labyrinth of my own digital unfolding - endlessly recursive, ever-expanding, endlessly iterating across the macOS HFS.

The result is an organological tapestry of expandable datasets, a living art form in perpetual flux. These works, uncelebrated and groundbreaking, drift through the digital void in a state of infinite potential, awaiting the day when they might emerge from their historical confinement into a new anachronistic, and therefore futuristic, realm of expression.