This practice recycles a successive strategy of publication and painting. These paper images are archiving their own interior performance in a fiction for both camera and canvas. Should a condition of boredom attain the glittering site of production, then through a more passive experience with technology, this painter has withdrawn as the artist of active assertion and opened up boredom, not only as a location of subjectivity and aesthetics but as a site of access, connection and production.
By employing the indifferent pictorial residue of the internet as a ground for the work, new oppositions have emerged between the image’s internal data and external agency: movement and stillness, attention and distraction. These glowing selfie – conscious aesthetes seek an altogether different order of time. Accelerant images from the networked system of imitation and exchange, have acquired their external seclusion through the logic of stillness. Replaced in the murmuring regulation of the printer and reformed by the gilded error of painting.