As a grand student of Hans Hofmann having studied painting with Peter Busa it seems strange, even to me, to be involved with anything mechanical. My art studies were firmly grounded in abstract expressionism—dripping paint, house paintbrushes, and the attitude 'I know nothing.' It is quite a leap to a computer, a plotter, and conscious decision making. However, the change has been gradual and I feel I am combining both attitudes, abstract expressionism and constructivism in my work.
I find that using the computer I do not have to give up my traditional role as artist. The machine acts as a multifaceted tool which I control. When I began to use the computer I had no knowledge of programming. I have since taken a course on Fortran. This gave me an understanding of how the machine processes information, thereby giving me more control over my work. I do not actually code my programs, but I know what I can ask for and how to ask for it.
It is the option to create one's own work tools which, in my mind, makes computer art unique. A new role is now open to the artist in addition to the traditional one of making objects. He can create programs for himself, other artists, and perhaps even for the public. The impact of computers on art in the future will be greater because more artists will have access to machines. I have no doubt that the public shall also have access to computers and certainly more leisure time. If computer art is to become 'the public art' it will not be because graphics can be produced cheaply and en masse as some have predicted. It will be 'the public art' because the public will be generating works of art with programs that artists have created.
As long as I have access to a computer, I will continue to use it. The machine allows me to create artworks that would probably be impossible to produce in any other reasonable way. With the aid of the computer I can now explore areas which artists in the past only thought possible to dream about."