Phase 03 — The digital deconstruction
RE*MIXPhase 03 — The digital deconstruction
The surgical moment when the ORIGINAL painting is digitally deconstructed into its component parts. This isn't digitization—it's liberation. Elements that coexisted on a single canvas are separated, isolated, and prepared for independent existence across multiple works, animations, and virtual environments.
Try it — the RE*MIX desk
One painting, endless mixes
Pick a Stage, drop Actors onto it, then ride the Atmosphere faders. Press RE*MIX for a random take.
Drop actors here
Drag figures from the tray · drag to move · corner handle scales · top handle rotatesTap a figure, then tap the canvas · drag to move · pinch to scale and rotateKeyboard: Tab to a figure · arrows move · + / − scale · [ ] rotate · Delete removes
CH 01Stage
CH 02Actors
CH 03Atmosphere
Example Work — RE*MIX
AmbientStream Continuum: CUTR Category: RE*MIX Title: CUTR RE*MIX 8 Medium: Digital print Size: 120 in. x 68 in. Year: 2024
View work →- Process
- Digital photography + editing + layer separation
- Output
- Multiple derivative images from single source
- Result
- Actors, Stage, and Atmosphere as independent elements
- Edition
- Edition of 10 + 2 APs per composition
Why RE*MIX exists
Imagine a music producer sampling a vintage jazz record—not just playing it, but isolating the horn section, looping the drums, pitch-shifting the vocals. RE*MIX applies this logic to painting.
Traditional paintings are locked systems. All elements are permanently bonded to canvas, the composition is fixed forever, and nothing can be reconfigured or recontextualized. RE*MIX breaks that lock. Multiple narratives emerge from a single source. Elements become modular—recombined across infinite compositions. Specific organs, bones, and figures can be studied in isolation. And every extraction feeds forward into MOTION and DIMENSIONS.
RE*MIX transforms painting from monument to database. From fixed to fluid. From static to stream.
The three categories
In the RE*MIX philosophy, every painting contains three kinds of elements. Understanding this framework is the key to understanding how a single ORIGINAL becomes an entire ecosystem of works.
Category 1
Actors
The primary subjects—figures, characters, and objects that command attention. Clear figure-ground separation, strong silhouettes, complete forms that carry narrative weight and can exist independently on any background. In BOXR: the central anatomical boxer figures, individual anatomical studies, the GOLUM creature, boxing equipment, and crown symbols.
Category 2
Stage
The backgrounds, environments, and atmospheric fields where Actors exist. Usually flat or shallow depth, creating mood and context, providing color relationships and spatial tone. In BOXR: color field zones—orange, green, blue, dark—textured washes, and environmental marks.
Category 3
Atmosphere
The marks, textures, and details that add life and complexity without being primary subjects. Small scale, often graphic or symbolic, adding information through text or visual interest through gesture. In BOXR: typography, grid patterns, measurement marks, drips, scratches, and gestural marks.
The five BOXR series
From one ORIGINAL BOXR painting, RE*MIX creates five distinct series—each with its own visual language, narrative focus, and emotional register.
Compositional strategies
RE*MIX compositions employ a consistent visual toolkit that creates coherence across the series while allowing each work its own identity.
Grid systems
Multi-panel layouts, vertical and horizontal strips, grid patterns that suggest data visualization and systematic thinking.
Scale play
Elements at dramatically different sizes—extreme close-ups alongside tiny repeated figures—creating tension between the intimate and the panoramic.
Color isolation
Sometimes only one element retains full color while everything else reduces to monochrome. Attention becomes surgical.
Transparency layers
Overlapping elements at different opacity levels. Ghost figures behind solid ones. Past and present exist simultaneously.
“The painting is no longer a tombstone—it's a seed. One source, infinite expressions.”
