Through a process of painting in thin washes and glazes, interspersed with an archaeological excavation of previous painterly decisions, my work seeks to generate these “hinterlands” that take the form of landscapes in which a “resampling” of forms takes place. The paintings grow out of an erosion of the picture plane yet the act of deletion becomes additive as the grain of the linen emerges from underneath layers of paint and creates an effect redolent of outmoded technological quirks like the static that occurs by pausing a degrading VHS tape. Geometric forms intrude into a fading, eroded, grey backdrop, suggesting that a shift is imminent or that something else might stutter into existence.
The painting, “They call it a Wasteland” suggests the appearance of an egress within a distant liminal landscape. The capillary, linear constructs that flank or frame this happening, form together and evoke a HUD (Heads Up Display) or basic first person navigation system found in early vector graph games such as “Elite”.
These awkward pixilated lines were the apparatus with which alien lands were navigated and one traversed a dark atmospheric murk, colliding occasionally with shifting polygonal forms. A tangible sense of the sublime can be felt whilst interacting with such video games due to the potential for the exploration of a new world. Through these subliminal gateways occurs the seizure of “dead styles” to encourage the stimulation of an anachronistic space.