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Historically, colour pigments possessed physical properties and were created using plant, animal and earth material. Today, with developments in technology and the rise of digital art, the relationship between colour and materiality takes on a completely new meaning. Artists are not only using technological innovations as assistants in the creative process but are now leveraging technology as an art medium. The work of Dominic Harris falls into this category – an artist who is classified as an exemplar within the field of digital art.

Through the artist’s reverence for nature coupled with his fascination for code, Harris fuses technology and nature in his work. Harris’ multi-sensory, digital ecosystems contain wonderous selections of flora and fauna that wane and wax in variegation. In The Promise of Babylon, the floral orbital mass changes in colour and vibrancy as it cycles through the four seasons. Standing in front of the work, the viewer is greeted with the cool hues of winter, the vibrant tones of spring and summer and the rich tinges of autumn.

Harris’ work draws attention to an interesting dichotomy, where the artwork incorporates natural phenomena, i.e. flowers and butterflies, but they are rendered in a man-made, digital format.  Subsequently, our experience of colour in Harris’ art is unique and notably different to the experience of colour in a traditional medium such as oil paint. Put simply, the colour we see in digital art appears intangible, being the result of the manipulation of light. However, neither the work nor the colour is stagnant. Harris centres viewer participation and in the case of The Promise of Babylon, the colours fluctuate in response to the spectator’s movements and touches to the screen.

David Hockney’s engagement with digital technology marks a significant chapter in his long and innovative career. Since embracing the iPad as an artistic tool in 2008, Hockney has redefined how we experience materiality and colour in contemporary image-making. At the core of Hockney’s practice is the Brushes application, which enables him to construct images using layered strokes that mimic traditional painting techniques. The app allows for fine control over brush width, opacity, and layering; features that Hockney exploits to build up complex compositions with a sense of depth and texture.
Hockney, in a conversation with Martin Gayford about the importance of the hand in digital image creation, uses video games as a pertinent example of original hand-drawn elements. He admits that numerous digital works of art have progressed to becoming ‘hand-denying’ but draws parallels between the effects that can be generated from digital works to the short, sharp brushstrokes of masters such as van Gogh. Hockney leans into the saturated colour palette of the iPad, employing traditional mark-making techniques such as hatching, stippling and dashes, imbuing the work with hand-made qualities. In turn, Hockney avoids the flat, solid and uniform appearance associated with digital colour.

Ultimately, Hockney’s iPad drawings invite us to reconsider how we define colour and material in art. By working with a screen-based medium, he has extended the painterly tradition into the digital realm, showing that the expressive possibilities of colour remain as rich and affective in digital form as they are in oil or ink. His practice demonstrates that technology, far from distancing us from the handmade, can offer new ways of seeing and experiencing art.