My current painting practice can be contextualised in auto ethnographic image appropriation, technical reference to painting genres and juxtaposition. The casually re-painted signs of abstraction or expressionism for example, are often butted up directly against the also painted signs of trash television shows, science and social struggle.
The idea of genre appropriation, rather than image appropriation is most significant here. When Modernist mannerisms meet flat and gestureless paintings of soap opera titles like Sunset Beach or scientific diagrams of sound, opposing ideologies can juxtapose and clash.
The auto-responsive selection of these counterparts, these bedfellows, emerges from a vast personal and lifelong collection of images, objects and things. For me the artist they are resonant objects of geo-political struggle and ideological sub-sets. I am allowing my own internal algorithm to connect these networks, these knots of knowledge, to extrapolate new functions for painting.
These potential ideological hybrids don’t have neat names or descriptions. They appear and disappear in the rift of the uncanny, formed between the canonical shadow of painting and social histories embedded in mainstream consciousness. The co-opted rhetoric’s of existing graphic or painterly gesture that are juxtaposed will never marry in linear coherence. Instead I want to prize apart the moments of uncertainty I propose, in order to allow painting more reflexive capacity as arbiter of unknown histories and ambiguous connections.