My paintings emulate digital modes of space produced physically through paint. Via Photoshop I collage imagery from stock photos, JPEGs found online, scenes from movies, and compressed cell phone photos. Made up of flattened hard-edge shapes and gradients, the overall image is then plugged into a 3-D computer program, creating a three-dimensional terrain where figures translate into CGI sculptures and objects are seen as props on a set. My interest lies in the intersection of the physical and the digital on the two-dimensional surface of the painting. Modes of incidence from the digital sources are retained through the lines, gradients, and drop shadows in the physical painting, which reference vector lines, Photoshop, and early 3-D computer renderings. Through the process, the buildup of paint offers tactile experiences in a digital language.