When I compare a digital line with one I’ve drawn with my pen, I feel alienated by the digital line. It’s perfect. Digitally drawn things are perfect by default. But it’s somehow distant, cold, impersonal.

The easiest way to make them feel natural is to introduce imperfection. I’ve found I can reduce the feeling of alienation by introducing randomness, unpredictability, the way Vera Molnar does by applying 1% randomness in her own art.

I have always been fascinated by the intersection of digital perfection and analog imperfection.
The first time I saw a pen plotter, I felt it was a beautiful example of the meeting of these two worlds.

In Processing of Life, I pick scenes from everyday experiences of nature and the world, and recreate them entirely from code. Once I’ve created the digital image, I plot it using different inks and pens, thus returning to them an analog imperfection and “natural” familiarity.