Painting serves as a generator for all of my work, it is an autonomous act which enables the gestation of ideas, simply through enacting its process of production. Through the process of painting, I actively investigate concepts of contemporary art as a Post-Internet Practice. Screen sized works are informed by hand-held networked technology being ubiquitous in everyday life and acknowledge the effect of the Internet upon the artwork and its distribution process.
The original images are harvested from the Internet with a smartphone and then reproduced either as small screen sized paintings, micro oil-paintings (7 x9 cm) or on A4 canvases. Following their initial production, the paintings are exhibited in a “flash mob” style, as temporary self-organised fluid interventions in public space. At this point the paintings are documented and redistributed online, joining a throng of existing digital images. This conscious post-production process incorporates the viral image distribution tactics favoured by social networks to enable a wider (potentially international) dissemination of the painting(s). Distributing the paintings online, ensures that the paintings become images viewed again through a screen, replicating the quality of their source material and adding layers into the viewing process.
The sources of the paintings imagery are fragile and transient (often found through Google image searches) and can generally only be viewed through a screen. Rendering unstable imagery in oil-paint transforms an insecure temporal image into a permanent solid object and serve to chart our relationship with screens as extensions of ourselves, evidenced through the popularity of the self-scrutinising and narcissistic selfie. Always prepared for public broadcast, with ensuing anxiety caused by hyper self-awareness. To paint is to delight in texture, to experience first hand that which cannot be experienced through a screen.
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