It is important when I work digitally to not fall into a trap of trying to recreate this in paint. Firstly, the series of decisions that led to the outcome in the digital work, when deconstructed, were made in direct response to a set of circumstances existent at that particular time: the materials that informed the digital work were again responded to on their terms in isolation, such as a pencil, pen, ink of charcoal drawing, and they became part of the digital work - later - in response to the needs to the digital work, only. That is that set of realities and no more. The process of making these works informs my paintings in a more symbiotic way, through the looking, adjusting, drawing - the actualities of making in short, which are being practised in this particular field of making. Manipulating paint is on another field of making; it's the looking that is a common link, the learning from looking and adjusting, the memory of how a colour relates to another, even degrees of opacity, will all inform but they do not lead and demand to be recreated in paint. Many roads can run alongside one another - the experience of travel is shared but the vehicles used are different; each suited to the terrain being traversed.