With the appearance of digital color copiers, artists are developing a unique language quite distinct from those possible with other printing techniques. Copier artists concentrate on the "hard copy" as being integrated into the totality of their personal expression by controlling symbolism, colors, scale, textures and papers (Fig. 1).

It is the immediate physical involvement of creating with this medium that obsesses me. From the intimacy of small formats to enlarged murals---using pixel-built color tones, transformations of forms and tonalities, shifts of revelations, deconstructing images and modelling the color process within a spatial continuum, I invent and discover.

My work evolves through two stages. First, I create an "original," whether singly or in series, on the Sharp CX5000 digital color copier. At the second stage, I develop scale, color and details with a Xerox 5775. To me, this process is comparable to bronze casting from a maquette.

In 1993, using the Sharp copier, I began exploring ways of controlling color washes, mixes and contours. I evolved several series of Spacescapes. Each series has its own momentum (through tones, tempi and moods often related to musical compositions) and consists of 3 to 20 related prints. In these works, colors became like reflections of sun's light in the atmosphere.

The ensuing series, Victims, was my way of coping with mass murders in Rwanda. Preoccupied with their suffering, I completed 11 prints that follow a spatially suspended kneeling woman and cowering man by focusing on their faces, shoulders and hands as clusters of transforming, digital colors.

I am so intensely involved with modelling colors that it is a shock seeing the work I select for publication bleached into black-and-white shades---all life and warmth gone cold. Yet for years I worked with wax, plaster, bronze sculpture and black-and- white ink drawings, bound by disciplines of tonality.

This year, I am populating the Spacescapes with modelled colored "sculptures" placed directly on the glass platen. Furthering the metaphor, spaces of ocean, sky and caves indicate a gravity-free scape where images interact with each other and us. From being personal to generic, meaning is multileveled, not linear; it is hermeneutic with layered meanings. Therefore, interpretation and understanding unfolds as part of the process of creativity.