Computers make our lives easy. They are capable of removing all traces of the human hand from art and design. Everything is exact, precise, mathematical. Working with computers in the design industry, my thought process has become aligned with the way the computer thinks: this is the most efficient way to build files and create commercial design work; specific actions must be completed in order to progress to the next action. But I’m not a computer. When I enter my studio, my work takes on some of the discipline that is engrained in me—however, there is a thought process, where I react rather than follow a strict system as means to an end. Often, the computer is a first step in my process. My material is the by-products of our day-to-day technological culture: logos and identity, branding, advertising, status symbols, pixels, hardware and software, etc. I also consider the phenomena of how everything (people, products and imagery) is on display. I try to locate the position of the average person (myself) in this sophisticated society. I can then create complex or simplistic forms that may seem rudimentary and backwards to a computer, but they remain visually stimulating, and my end process represents a de-evolution of technology and its role in our visual culture.