Many traditional artists have embraced computer graphics to enhance representational depiction.  Other digital artisans have employed these new capabilities to create previously unimagined visual abstractions.  The variety of both the potential imagery and the virtual equipment for manipulating it is in effect inexhaustible.  Fractal digital imagery is a relatively young yet already rich field.  Though different from traditional art, this digital medium demands a well-developed esthetic sense.  Mastery of an ever-evolving toolset permits results perfecting form, color, texture, and composition. Michael explores undiscovered worlds of exotic scenery filled with exquisite shapes in colorful profusion.  This journey into the wilds of magical fractal imagery is made possible by and is a reflection of the beauty of mathematics.  These intricate designs serve as snapshots capturing panoramas from the limitless uncharted realms of inner space and often feature spirals speaking spiritually to us of infinity.  Michael calls his geometric yet organic results photoreal abstracts.

Of overriding interest to me, no matter what the subject matter, is the power of color. I consider myself a colorist and by that I mean that I use color to create mood, form, dramatic contrast and a sense of magical imagery not by color's placement or juxtaposition, but by its subtlety. I want to create works of art that invite the viewer to stop, look and enjoy. "Plucking" the aesthetic heartstrings is dependent on the memories and emotions of the viewer which are then filtered through their history to cause them and us to say "Ah, I like that" or "I recognize that" or "I feel that." Reality is ephemeral and generally insistent on inter weavings of present and past moments. Ultimately, we "create" our own art with the help of the artist as orchestrator. The final completion, in my mind, being the symbiosis between the artist and viewer reaction and interaction. Sometimes, like "Brolly," the color is subtle. Sometimes, like "Close Friends," the color is powerful. Sometimes, like "Tubes," the color is shapely and sometimes, like "Echando Flores," the color is happy and inviting. My subject matter is dependent on whatever attracts my mind and heart at those particular times. As for explanations of my work, I usually like to have the viewer "get what they get" and hopefully enjoy what they get. I travel back and forth between realistic, subtle shifts in realism and outright abstraction.