From another direction, the camera points at a commonality between technology and traditional illusionist drawing practices. The fascination with interpreting the human head in both two and three dimensions remains a constant. The classical bust composition remains a framework in which to compare with current face recognition software formats. These imaginary portrait drawings were considered successful once they had defeated various online face recognition analysis. In the analogue process, these head drawings were veiled in layers as an attempt to conceal simultaneous interpretation. When generated through apps such as Motion Portrait, the drawings become animated, taking on robotic characteristics while manipulated by human touch. Like drawing, this is an organic process. Thus, organic and mechanical features commingle from inception, whereby hand manipulation of the head image remains essential for the creation of a digital portrait with a unique fingerprint.

Charcoal, a primitive and most responsive medium allows for a direct, intuitive approach and the representation of form, atmosphere, space and movement. I aim to utilize drawing as a form of communication and entertainment while leaving the content interpretive.