After spending several years documenting handicraft workers in Swaziland, Kyle has learned and incorporated their processes into his photography; in particular, their hand-weaving technique. Hand-shredding and weaving photographs together with photographs or fabric enabled him to add texture and dimension to an otherwise two-dimensional image. Kyle simulates textiles and fabrics by making hand-dyed and woven pieces using digital photographic printer inks and paper. The resulting sculptural works are experimental formal interventions with inkjet printing materials that critique contemporary digital photography. By deviating from conventional means of digital photographic representation, these pieces simulate pixelated images. Wet fabric is placed onto photo luster paper and bottles of hand-mixed printer ink is squeezed onto the fabric and allowed to dry. After removal of the fabric, a physical imprint similar to a photogram remains, but with digital materials. Two dyed sheets are then woven together to eliminate any distinguishable patterns such as a 1,2,1,2,1,2 or a 1,2,3,2,1, allowing him to either reveal or mask parts of the paper. Kyle’s work focuses on the question of how a digital representation retains authentic quality when images can easily be retouched and reproduced ubiquitously. His work questions authenticity when images become completely produced by a machine (camera, computer, printer) for mass production. Kyle’s constant yearning for tangible objects and tactility enable him to express his ideas and concepts that are lacking in today’s digital photographs. His process of creating pseudo-digital images, which utilizes a laborious and time-consuming process, is therefore the antithesis of instant machine-produced imagery.