My scanner paintings are made using cheap, consumer scanners. They always begin at the same point: the lid of the scanner open and nothing on the glass. I make a scan of the light that’s in the studio, with all its variables of time of day, artificial lighting and weather, as well as the resolution the scanner is set to, which changes the time of the exposure. I then go through a layering process adding additional scans — sometimes as many as 20 — at different lengths of time, and different lighting conditions, and also with different scanners! Each one looks different, so I think of them like brushes. An HP1010 gives a different effect than a Canon 4500. So I have dozens of different ones in the studio. They also break and malfunction and this again can lead to different, sometimes unpredictable effects.