Buffy likens electronic painting to "painting with light". Working on her Macintosh at home, she has used the entire 15 year history of digital imaging software, using mainly Photoshop these days, combining colours and light, sometimes with scanned-in realities (photos, fabrics, feathers and beads) and over-painting with metallic dyes to create huge, brilliantly coloured paintings which she describes as being "both reflective and deep, like new car paint". Her works have graced the covers of Art Focus and Talking Stick magazines and been featured in MS. Magazine, Yahoo, and USA Today.
An early Macintosh pioneer in digital art and music, by 1994 Buffy Sainte-Marie's huge works were among the first to be seen in museums and galleries across North America: the Glenbow Museum (Calgary), the Emily Carr Gallery (Vancouver), the Mackenzie Gallery (Regina), the Institute for American Indian Art Museum (Santa Fe), The Isaacs Gallery (Toronto), Ramscale Gallery (New York), the G.O.C.A.I.A. Gallery, (Tucson) and the Tucson Museum of Art. The images are created as very limited edition Ilfordchrome photographic prints, ranging in size from two feet to nine feet high. The pieces are then framed and exhibited in galleries, both physical and virtual. For more information, contact firstname.lastname@example.org.
Buffy Sainte-Marie was very early with digital art and, as digital media caught on, Buffy assisted many other artists in understanding computers as an additional tool for real art. She was keynote speaker at the Interactive '96 conference (in Toronto), where her digital images were exhibited amidst great media attention. Singing a concert with the Regina Symphony with her magnificent huge digital paintings exhibited in the foyer of the concert hall, her continuing theme Cyberskins: Live and Interactive crossed media boundaries, always emphasizing how Indians are alive and thriving even within the digital revolution.