Although academically trained as a portrait painter, I slowly began to think of paintings not as static experiences but as multi-sensory encounters. Consequently, I learned to machine and code to underscore painting’s play of visual, aural and haptic elements. To make the surfaces of my paintings audible through sound. To choreograph them to move. To enable their compositions to morph and change. To consider, for instance, the Cubist embodiment of multiple perspectives in time and space. The resulting installations, thus, use traditional forms in unexpected ways. But like what first attracted me to paint my contemporaries, the goal remains the same – to express the experience of being in the world today. marysherman.org