Originally trained as a painter, US born and based artist Jakob Dwight was drawn to digital art and software as an opportunity to explore the impact of digital media on the painterly perspective. Inspired by the opiated, meditative quality of the screen-based televisual space, in 1999 the artist saw the exploration of the illuminated image as significant to contemporary sensory culture and produced his first digital works in that year.

After 23 years of creating works almost solely through digital processes the artist has returned to painting, extracting and layering images from his archives of computer assisted or generated images.

In Dwight's recent paintings, the uniquely light-based art trope called the afterimage - the image that remains temporarily in a viewer’s mind after looking away from an original image - is introduced to painting. Again, asking: What can painting learn from 50 years of digital art, more than a century of film, cinematography and the post-photographic era?

Described by intermedia art pioneer Claudia Hart as a classical romantic, Dwight's work often examines properties of the natural world like compression, scale, complexity in noise/turbulence (ie: fractalism), and the birth and evolution of form, often presenting deceptively simple and timeless seed or ovule forms. A survivor of a (noncancerous) childhood brain tumor, Dwight's images often reference neurological or biological forms and imagery. In these ways the artist seeks to embrace the universality of the art experience through an iconic visual poesy, an emotive appreciation of physics and the natural world.

Dwight's work has been presented internationally, including in Amsterdam, Paris, Los Angeles, Berlin, Seattle, Atlanta, Vienna, Salzburg, and New York. In 2012 he exhibited in Kassel, Germany as part of the Kreuzberg Pavillon at dOCUMENTA (13). The same year, he was awarded the Harvestworks New Works Residency in New York. In 2010, Dwight was invited to attend the GlogauAIR Artist's Residency in Germany, and in the following year, he was awarded a United States Artist's Residency. As part of the Aesthetics + Therapeutics Lab, a collectively run platform developed to initiate installations and experiments in immersive art and healing, Dwight installed a multi-sensory environment at the Vortex Immersion Media Dome at LA Center Studios in 2014.

He was commissioned by the Seattle Art Museum to create new work for the Disguise: masks and global african art exhibition at UCLA's Fowler Museum, which traveled to the Brooklyn Museum, New York in April 2016.