Digital–Analog Mixed Media, a.k.a. DAMM Art
Bollinger Arts Workflow / Edition 33
DAMM Art—Digital Analog Mixed Media—describes a process in which an image is not simply created, but gradually becomes. It moves from observation and imagination to image, surface, and finally object through a layered hybrid evolution.
The work often begins in the liminal space between the recognizable and the impossible—a world shaped by magical realism, where scientific detail, historical imagery, memory, humor, and visual invention coexist. A spotted whale may drift above rooftops with anatomical certainty and dreamlike defiance. Familiar forms become symbols, and the ordinary is quietly pushed into unfamiliar territory.
The visual gathering process draws from tools and source materials spanning centuries: public-domain etchings and field illustrations, personal photography, original illustrations and doodles, hand-drawn textures, historical iconography, contemporary visual fragments, collage, digital painting, and design software.
These elements are never simply copied or reproduced. They are dismantled, masked, distorted, recolored, layered, and reassembled into a new visual language—one that feels simultaneously familiar, elusive, and slightly uncanny.
Digital tools function as an early-stage sketch partner. Photography, collage, illustration, and digital painting introduce unexpected rhythms, pattern systems, compositional possibilities, and visual interruptions. These digital stages are never considered endpoints. They are foundations to be pushed, edited, disrupted, and transformed through thousands of hand-and-head-driven decisions.
The image is then transferred onto a physical support, which may include canvas, archival paper, birch panel, brushed metal, acrylic, or another carefully selected surface. At this point, the work shifts from image to object.
Traditional materials take over. Graphite, pigments, acrylic inks, paint, drawing media, surface abrasions, wax, and other physical interventions build depth, texture, and material presence. Elements may be added, altered, partially concealed, uncovered, or allowed to remain as subtle traces within the finished surface.
Each work in the variable edition develops differently. Although the underlying composition may be shared, the combination of marks, pigments, textures, gestures, and surface treatments changes from piece to piece. No two works in the edition are exactly alike.
The hallmark finishing process of Edition 33 is encaustic wax. The surface is enveloped in a luminous layer of hot beeswax that fuses the accumulated elements into a unified skin. The encaustic deepens color, softens transitions, catches and refracts light, and physically seals the work—holding time, touch, material, and process within it.
As in life, however, there are always other options. All finishes are archival and adhere to strict conservation standards. Current variations include birch, metal, and acrylic substrates paired with super gloss, flat matte, or the artist’s preferred hot encaustic beeswax finish.
Like any good illusionist, the artist follows a sacred code. Materials may be named and techniques suggested, but the full mechanics remain deliberately veiled. To completely decode the spell would diminish its effect. DAMM Art is a form of visual alchemy—rooted in tangible materials and deliberate craft, yet never entirely explainable.
The finished work straddles two worlds: one pixel-born, the other carved by hand through time, texture, pressure, pigment, and touch. It is not quite painting, not quite print, and not simply collage. It is an object-based hybrid image carrying multiple origins at once: echoes of historical visual language, traces of digital exploration, and the unmistakable presence of the artist’s hand.
Each final piece stands as a complete object in itself—composed of thousands of tiny moments, micro-decisions, gestures, marks, revisions, accidents, and adjustments, all fused into a single unified surface.
Every layer, every touch, and every choice lives together as one.
This is DAMM Art.
D.A.M.M. Editions
D.A.M.M. Editions follow in the long, rebellious tradition of artists who understood that an edition is not a compromise — it is a power move. From Andy Warhol’s screenprints to Keith Haring’s pop multiples, Shepard Fairey’s street-edition graphics, Takashi Murakami’s factory-bright prints, and Damien Hirst’s editioned works, the edition has always been a way to move art out of the ivory tower and into the hands of real collectors.
D.A.M.M. — Digital Analog Mixed Media — continues that lineage with a contemporary twist. Each image begins from a digital origin, but no final work is simply “printed and done.” Every piece is pulled back into the physical world through an organic, human-hand process: surface work, tonal shifts, drawing, glazing, texture, wax, and other analog interventions. The digital image becomes the starting point, not the finish line. The hand disrupts the machine. The object becomes alive.
Because of that, every piece in a D.A.M.M. Edition is unique. These are not identical reproductions. They are variable within editions: related works from the same image family, each one individually finished, altered, and marked. Size, surface, color treatment, handwork, and finish can vary across the edition, creating a living body of work rather than a fixed mechanical run.
Each piece is individually identified and marked within the edition structure, noting its edition family, size, surface, and variable state. A 12 x 12 and a 30 x 40 may belong to the same visual lineage, but they exist as different objects, with different presence, scale, and physical attitude.
The philosophy is simple: editions democratize scale, access, and cost without flattening the art. Not every collector starts with the largest work in the room. D.A.M.M. Editions allow the same image universe to exist across multiple sizes and price points — from intimate, affordable objects to full-scale statement pieces — while keeping the work collectible, limited, and artist-driven.
It is fine art with range. Digital-born, hand-finished, physically present, and built for collectors who want something alive on the wall — not just another sided numbered prints
Edition 33
One Image. Thirty-Three Opportunities. No More.
Each Bollinger image is released through Edition 33, a finite collector framework limited to thirty-three large-format works of art.
Collectors are free to select scale, surface, and presentation, while the rarity of the image remains protected. As works enter private collections, the remaining opportunities become increasingly limited. Once all thirty-three works have been placed, the image is permanently retired.
Created through a D.A.M.M. (Digital Analog Mixed Media) process, each work combines digital image-making with traditional studio craftsmanship. Works are further developed through handwork and physical interventions, including drawing, painting, surface development, and, as a well-loved option, a hand-applied Beeswax Hot Encaustic or an Archival Museum Varnish Gloss or Matt finish. The result is a distinctive art object with its own individual character.
Edition 33 offers collectors the opportunity to acquire a work from a carefully curated and finite body of art—created to be collected, lived with, enjoyed, and handed down.
One Image. Thirty-Three Opportunities. Then... No More. *
We do offer small format miniatures under 7" metallic paper prints as samples of the Large Format Editions ... once the edition sells out they are no longer available... Pre Release Buyouts of Images are available for limited large format works ... It's possible to Stop the series at 1 prior to 1st public sale ... We are developing a catalog website with pre release works with that option... stay tuned...