ChromaLuxe on aluminum


In 2015, my website was hacked: lines of text and image were haphazardly vandalized and replaced by recognizably altered versions of the original. In an effort to regain my illusion of control, I decided to investigate ways of distorting, hacking and redacting my own work. In my series, databent, I am the vandal. I employ a text editor to manipulate the raw data behind the original image, altering the code itself and permanently corrupting the file. The resulting random distortions are only revealed to me when the computer attempts to read back the data. Each image in the series is printed as a ChromaLuxe on aluminum.


  • Glitch, PH21 Gallery in Budapest, Hungary (2019)
  • Glitches and Defects, Millepiani Exhibition Space, Rome, Italy (2019)
  • “Food and Losers.” Food& Magazine. Berlin, Germany, Issue 4 (2019, forthcoming)
  • HOME: Absence or Essence, Specto Art Space, Bridgewater, Virginia (2018)
  • Mobile Only, PH21 Gallery in Budapest, Hungary (2017)
  • Up Next, NEXT Gallery, Denver, CO (2016)
  • 5th Annual Juried Exhibit, JF Gallery, West Palm Beach, FL (2016)
  • “Distinguished Artist.” ArtAscent Art & Literature Journal. 16 (2015): 36-41.
  • Generations, 40 Hues Between Black & White, Orange County Center for Contemporary Art with Vietnamese American Arts & Letters Association, Santa Ana, CA (2015)
  • CONCEIVE, A Group Exhibition, the HUD Gallery, Ventura, CA (2015)


View this entire collection at Saachi Art.

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These new Databent works entice the eye with their views of landscape in saturated hues, and interplay against the transparency of digital creation. The technological evidence of manipulation is highlighted if not transparently observed through colorful pixilation and linear breaks in the open fields. I find myself wondering if these works are intentionally challenging the viewers’ sense of beauty and artificiality, or if they are simply masterful compositions of light and texture devoid of extraneous content.


I feel the piece designated # 54 is especially strong, in its fluid gesture of deep green foliage streaking across a blue ground. There is the sensation of watery submersion below, perhaps because or the stretched horizontal orientation of the yellow lines and fading violet trails. The relatively open space in the center heightens the formal relationship between the two sides of greenery pulling and pushing away from each other. I also respond to the square format, which again challenges expectation about landscapes and pictures.

—Kristen T. Woodward, Resident Curator Artists2artists & Professor of Art at Albright College

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