The pixel, the perfect flat square of colour, has allowed us so many new forms of expression. It also signifies a loss. Depth, tone, warmth – these attributes can no longer be used in the same way to describe digital works, as they were used to describe the old photographic wonders of Technicolor, Eastman, Kodachrome and Ektachrome. I remember as a small child leafing through the National Geographic Magazines that my grandmother would religiously subscribe to, being lost in the worlds that they so beautifully imagined for you. Later, I would collect these old magazines, and what struck me was the painterly quality of the images – a warmth and depth that only these Ektachrome plates could exude. It seemed natural to turn to collage and photomontage, as this could be part of a methodical re-examination of the relation between painting, film and photography. Turning away from the scanned, digitisation of the photoshop laboratory, the process of hand-cut assemblage not only becomes an aesthetic, but is instantly recognisable as hand-made, a craft-like skill, and one that is immeasurably therapeutic.