Early attempts at digital manipulation, with which we began to experiment in the 2000s, were met with skepticism.  Blending technology into manual technique was initially considered cheating by the establishment.  

To make these paintings, we superimposed a grid on the photograph and then transferred a proportional grid to his gigantic canvases. We then manually applied algorithmic elements with an digital airbrush and then scraping off the excess with a digital eraser to imprint the exact forms of each algorithmic output into the canvas.   Subjects are often still nature photographs illustrating Exponentialism or man’s accelerating rate of creative change caused by technology.