I've finished two of a series of paintings I'm calling "Incarnations." They are life-size photographic portraits rendered in 4-color process separation dots (Cyan, Yellow, Magenta, Black), then reconstructed in puddles of transparent paint. Up close, they are utterly abstract, but farther back they not only become a figure—but then a person—and then somehow "real." Through these paintings I'm continuing to think about how an experience can be exact and inexact at the same time, and what happens when a specific intention (in this case, an image of a specific person) comes into being by a process that disrupts, adds chaos, and forces me to relinquish a degree of control. Yet the image still manages to become flesh and blood again.