I love halftone because it sits somewhere between image and texture. From a distance, the dots disappear and become a photograph; up close, the image breaks apart into something much more physical — ink, pattern, grain and imperfection.

For this piece I wanted the halftone to do more than decorate the portrait. I used it as part of the idea itself: the face gradually moves from photographic detail into printed information, then begins to fragment into the negative space. I especially like that tension between something feeling very precise and very imperfect at the same time.