25. Mental Wireless: Coded Language from a Psychic Realm?

In Jean Cocteau’s film Orphée (1950) the title character listens obsessively to the car radio as it emits strange other-worldly messages, seemingly embedded with a poetic code.


These coded transmissions sound as if they are coming from another realm, perhaps an in-between place – like the electrical malfunctions and audio anomalies in Lynch’s films – a bridge between separate realities.

There is a communication here…some kind of telepathy coming from another realm, beaming mysterious signals across the airwaves…

It feels apt that I have begun delving into the book Psychic Discoveries Behind the Iron Curtain (1970) recommended by the illustrator and former tutor of mine – Geoff Grandfield. Though it appears to be a highly readable and addictive book from beginning to end, it does feel necessary to dive in and out of different sections. Perhaps it’s just my impatience to get to the weightier parts, the lure of such chapter titles as: Inner and Outer Space, Time – a New Frontier of the Mind, Artificial Reincarnation…

These ideas…Time as a form of energy, patterns of an unknown energy, time as appearing immediately everywhere…’Time links us all and all things in the universe’ (Ostrander/Schroeder, 162)… thoughts changing the density (or perhaps destiny!) of time…

I can’t help but think of Borges’ short stories and Flann O’Brien’s Third Policeman.

Possible titles: Transmission I

What reflects between two mirrors?

 Reading about how telepathy flows more freely in outer space, I think again about Tarkovsky’s film Solaris (1972), based on Stanislaw Lem’s book of the same name…, particularly the ocean.

I have been working on this…


Transmission I


Notes from two exhibitions – Paolozzi at the Whitechapel / Latham at the Serpentine:

Both had a strong sense of decoding through deconstruction. In Paolozzi’s work I could see this coded language of symbols and interchangeable shapes. Both seem to be creating a new language. Latham attempts to decode the bigger picture: the mechanics of the universe…both artists reveled in different media, crossing boundaries. 

… viewing the manifestation of a different (higher) level of thinking…

Lines of connection in the universe

(quasi-) scientific/forensic

…Like circuit boards…

…Morse code…

…Detritus of an abandoned world…


Images from the Eduardo Paolozzi exhibition at the Whitechapel gallery, London – March 2017…

Paolozzi2  Paolozzi3


Images from A World View: John Latham exhibition at the Serpentine Gallery, London – March 2017…




And what follows is a process of deconstruction and reassembly – Making art like music. Extracting to create a pulsing coded message…—






A folding of the fabric…






‘Fusing the exploration of inner space with the exploration of outer space’ (Ostrander/Schroeder, 87)



ZoneTest7PrintThe Zone is thus not a purely mental fantasmatic space in which one encounters (or onto which one projects) the truth about oneself, but (like Solaris in Lem’s novel) the material presence, the Real of an absolute Otherness incompatible with the rules and laws of our universe…reducing/retranslating the encounter with the Thing to the “inner journey” towards one’s Truth. (http://www.lacan.com/zizekthing.htm)





Ostrander,S & Schroeder, L (1970) Psychic Discoveries Behind the Iron Curtain Bantam Books



24. Zones of Interpretation

Plans taken from the mappings of Kafka’s The Trial (1925) are layered, creating a palimpsestic state where all spaces are experienced simultaneously within ‘a vast network…an ocean of possibilities.” (D. Lynch’s Inland Empire (2007))


Pencil on layers of tracing paper



Scaling up and printing reveal the glitches, ravaged textures and determined shadows under a forensic microscope…







This process of interpreting…







Constructing a 3D interpretation of Kafka ‘floor plan’…


Beginning to translate onto fabric…



Portrait of K. (detail)

Interesting when folded….

Accumulates meaning…

Folding of the fabric (time and space)


Portrait of K. (detail folded)



‘No one here has ever come back the same way.’

‘There’s no going straight here…things change here every minute.’ (Quotes from Tarkovsky’s Stalker (1979))



Tracking the Zone (detail)

“И небо раскололось, как свиток, когда оно свернулось “

(“And the sky was split apart like a scroll when it is rolled up”)




23. Architecture of Consciousness

‘Architecture is the first manifestation of man creating his own universe’ (Le Corbusier)

‘When the map covers the whole territory something like the principle of reality disappears.’ (Baudrillard)

img_2269webUntitled, Pencil on paper, 2017

From past readings of Baudrillard’s writings, it is his thoughts on the ‘dematerialization of the real’, a reality that ‘no more exists outside than inside the artificial perimeter’ (Baudrillard, 1981) that continue to resonate. The notion of perimeter in this case could be seen to contain the studio, stage, fictitious worlds or imagination. Beyond that: the internet. In any case the spaces/places being created are environments that operate within their own internal logic. Illogical worlds that are mapped from the spaces and architecture within Kafka’s The Trial (1925) and the films of David Lynch. In both cases (Kafka and Lynch) the spaces and architecture appear to reflect the psychology and or consciousness of the protagonist, creating a psychogeography of internal spaces that are inherently fluid (or at times both fixed and fluid), disorientating and ambiguous. Physical boundaries are in flux. For example, in Kafka’s novel there is a ‘clear delineation between the two sides of the door that creates instead a space within a door’ (Auerbach, D 2011), a space where K. becomes trapped. Both Kafka’s and Lynch’s architectures are clearly controlled by external forces, prone to spatial anxiety, disturbance and interference. The author Richard Martin explains how Lynch’s films ‘repeatedly pivot on a single decisive room…a central chamber,’ that are ‘distinct interruptions in the flow of events around them’ (Martin, R 2014), where conventional expectations are being tampered with: portals appear, secret passageways threaten and boundaries lead to nowhere. From this, contradictions arise, such as: Absence (spaces) and Presence (traces), Restrictions and Infinity. Lynch ‘makes room for delineated spaces to create a struggle between the contained and the unlimited, the anxieties of claustrophobia, versus the threats of boundlessness’ (Martin, R 2014)


img_2263webUntitled, Pencil on paper, 2017


Untitled, Ink on paper, 2017

Ultimately, if we pan out, it  becomes clear that it is the authors of these in-between worlds who are the external forces in control here. As one of Tarkovsky’s characters points out with regard to the Zone in the 1979 film Stalker: ‘There’s no such thing as facts, especially here. Here everything has been fabricated by someone.’…’All this is someone’s idiotic invention. Can’t you tell?’ The director’s influence becomes omnipotent. It is I the artist then who becomes the external influence. The act driven by the drawing process, particularly evident in the analogue process of reworking, layering and reconfiguring.

‘The gap between the progressive ideals of modern architecture and the reality of human relations’ (Martin, R 2014)

Hisarligil’s article describes the process of taking a phenomenological approach to architecture where students were asked to create a Kafka museum after reading three Kafka novels. Ultimately  it is realised that Kafka and the text became a ‘phenomenological experience that open up the design process to ‘new possibilities waiting for interpretations’ (Hisarligil, B 2012).

A number of provocative words and phrases (with regard to spaces and places within the text) were enthusiastically highlighted upon reading this illuminating article:






unapproachable places,




non-geometric spaces…

geographical abstraction,

transformable surfaces’.

Hisarligil also alluded to a process of understanding achieved through ‘the fusion of horizons in the dialogue between reader and text, and in the dialogue between reader and text.’ (Hisarligil, B 2012). A pivotal point within the article deals with this process of interpretation. I got to thinking about my own interpretation of the text/film leading to the viewers interpretation of my work.

Author/Directors interpretation of an idea —> My interpretation of text/idea —> Viewers interpretation of my work

By taking a recognisable visual language such as architectural drawing and subverting the conventional structures and symbols I open up the possibilities of new levels of interpretation through a process of deconstruction and a disruption of the grid-like network.

There evolves something of an architectonic palimpsest (a counter-site that Foucalt refers to as a Hetrotopia: ‘a space of illusion that exposes every real space’) where time and space overlap (as in in Lynch’s Inland Empire) both through changing interpretations of ideas and through a history of marks, time and past accumulating.To reinterpret, imagine and create these labyrinthine worlds, these in-between places is to become a forensic of an unfathomable world. This seems apt in a world where the reality of time and space are uncertain and the real infrastructures are at breaking point.

Through considering these spaces as reflective of profound immeasurable and obscure geometries once again brings to mind the graphite drawings of artist Emma McNally and the boundless plotting of unseen, unknown worlds and pulsating patterns. Here too, the grid-like coded structures that appear to underpin much of her work could easily be interpreted as a complex network akin to the digital realm with its noise, errors and glitches.

mcnally1Emma McNally Detail of Choral Fields 7 Graphite on paper


Emma McNally Detail of Choral Fields 8 Graphite on paper

I have come to believe that both Lynch and Kafka are describing a struggle within a false utopia (Josef K.’s trappings within a labyrinth of bureaucracy and Henry’s isolation and anxieties within the industrial machine in Eraserhead). There is however, in Henry’s case, though intermittent,  a creative resistance and defiance of the seduction of the industrial machine through his imagination and visions.

If we consider digital technology as a version of this false utopia, an alternative to consciousness in the ‘form’ of virtual reality that is being offered, are we not ourselves liable to become disconnected from reality, disorientated in an illusory in-between space governed by external forces?

McNally successfully negotiates these ideas that ultimately offers a little positivity…

It leaves us in a stuttering, stammering, flailing place. Unmoored, disoriented, dislocated and – in the digital age – overwhelmed and urgently negotiating the blurred realm between the supposed free play of simulacra and the gravitational drag of representation. But it’s a place that’s not without great potential for generating new conditions for thinking differently. (McNally, E)


Some work in progress…Working on black-out lining (a lucky bargain) ideal for current thoughts on creating a more theatrical, immersive/interactive experience…

img_2277web Untitled (2017) Ink, charcoal pencil & graphite on black-out lining

img_2278webUntitled (2017) Ink, pencil & graphite on black-out lining




Baudrillard, J (1981) Simulacra and Simulation University of Michigan Press

Hisarligi, B, B (2012) Franz Kafka in the Design Studio: A Hermeneutic-Phenomenological Approach to Architectural Design Education iJade Volume 31, Issue 3

October 2012 Pages 256–264

Le Corbusier (1931) Towards A New Architecture J. Rodker

Martin, R  (2014) The Architecture of David Lynch Bloomsbury Academic

Auerbach, D (2011) The Stasis of Spaces in Kafka’s Trial (http://www.waggish.org/2011/the-stasis-of-spaces-in-kafkas-trial/)


22. Full Circle and Beyond

 ‘The work of art…is neither crested nor chosen, but discovered, uncovered, excavated, pre-existing within the artist. A law of nature.’ (Beckett)

img_1824Untitled,  Pencil, Colour pencil, acrylic 2016

As the figures within the compositions begin to distort, writhe and finally fix like glacial statues in a Bacon-esque unreality I break away to create something beyond the confines of the paper.


img_14663D ‘stage’ construction test, Hardboard, card, masking tape, 2016

The process of construction is a fairly crude one, but I know from past experiences of using such methods that the combination of both lighting and (minimal) Photoshop can raise the thing above crudity. Rough edges can be smoothed. This simply adds to the illusion of scale and space. However, because I like to spend as little time fixed to a computer screen I try and keep these anomalies to a minimum.

A couple of the outcomes…test_print1

Untitled, Digital image, 2016


Untitled, Digital image, 2016


I realize the advantage of various viewpoints and as I move around the set, the object itself (including its crudeness) began to intrigue me. I began to wonder what could be happening backstage, what could I see if I looked from different angles? I could, like Lynch, go within and beyond these artificially created walls.

Looking backstage…



From above…


Before I move on it is worth noting here my fascination with James Casebere’s work. These ‘simple and complex table-top models’ create bleakly beautiful worlds, unpeopled yet embedded with the textures of a forgotten presence…casebere

James Casebere, La Alberca (2000-2005)


James Casebere, Garage (2000-2005)


James Casebere, Samara (2006-2008)


From personal journal:

I have to admit: There was a persistent dissatisfaction in what I was creating. This, I know now, was necessary to drive things on.

All structures and environments can be reinterpreted, reconfigured, as in Borges’ writing, where actions and essence are repeated:

‘Kilpatrick was killed in a theatre, but the entire city was a theatre as well, and the actors were legion.’ (Borges, from short story: Theme of the Traitor and the Hero)

Whilst perusing The Guardian’s Saturday Guide I come across an image and a small piece of text about the artist Claire Hentscker and her latest project Shining360. As described on the artist’s website page, Shining 360 is an ‘audio-visual experiment.derived from the physical space within Stanley Kubrick’s film ‘The Shining.’’



Food for thought…I wonder…What about the non-physical spaces? …

After considering the inclusion of diagrammatical drawings within my work I had a lucky find in the Oxfam bookshop. The book is entitled: A J Handbook of Building Enclosure. Exciting stuff.


Something begins to come together. Not that I am immediately aware of this. It is only now that I piece together these findings that it makes sense with regards to a new approach. Tiny shifts in perception and thought move me closer to an idea. Connections are made between seemingly unconnected things.

‘Films are uniquely suited towards addressing paradox, recursiveness, and world-within-worlds.’ (Christopher Nolan)

I know when an idea is potent and meaty: I become obsessed; I have trouble sleeping as ideas push through and the artwork becomes pregnant with potential.

The idea: Mapping out the illusory spaces/places within films, stories, plays etc. those that contain impossible spaces. To depict otherworldly/out of time realms/spaces through the combination of graphic/architectural language with mood/tone/atmosphere, to describe spaces. Consider sound/tone/light

The ‘etc.’ is important as it could be opened up quite a lot.

Subvert the language of architectural floor plans.



I begin a process of observing/tracking/reading whilst mapping spaces within films and book. This arises to greater appreciation of direction and leads to a more immersive experience. Otherwise hidden layers, corners, psychological spaces and cyclic workings are revealed.

On a small scrap of paper is the question: How do I make architectural plans look sinister?

These spaces are all translated into an elevated viewpoint…


All the movies are about strange worlds that you can’t go into unless you build them and film them.’ (David Lynch – http://journalsoncinema.tumblr.com/post/45188557672/briliant-david-lynch-quotes)













There is a book that I’ve been meaning to read since I purchased it on the date of its publication in 2000. The book is House of Leaves by Mark Z. Danielewski. I think that the reason I haven’t gotten round to reading it is because of the apparently impenetrable format: It has an unconventional structure and format, unusual layout, footnotes within footnotes, footnotes for footnotes etc. I pick it up and it falls open to a page with this quote, and only this, on one page:

‘Norberg-Schulz asserts: “Architectural space certainly exists independently of the casual perceiver, and has centres and directions of its own.” Focusing on the constructions of any civilization, whether ancient or modern, it is hard to disagree with him. It is only when focusing on Navidson’s house that these assertions begin to blur.’ (Mark Z. Danielewski, 2000)

I think that it could be time to give this book a go.

21. Absence and collaboration

I think that all the art that I create is in some way collaborative. I am obtaining elements from a variety of sources and reconfiguring them, letting these be my guide. It is the unique juxtapositions that make it my own. Though the process is a collaborative one, sometimes psychic, across time. In this sense I think that perhaps all art is in some way collaborative. A collaboration of what has gone before, of time, psyche and history. My story is my own but it is part of the whole, part of a ‘total truth’ and part of the ongoing act of trying to understand the meaning of life (and death?).

‘A precipitating cause – in something unconscious that has joined them.’ Luc Tuymans on his use of source material/images.

The notion of stage design persists, as does the fascination with illusion within an artificially created world.

The structure becomes a façade that contains and leads to transportive, possibly otherworldly spaces. Defying the structure as the structure itself is in a state of collapse.

As I write this, my eldest is sat at the dining room table constructing a walled garden, which in turn contains a secret walled garden within. The secret garden includes a ‘backdrop’ of trees, suggesting that it continues out, whereas the vegetable garden that surrounds has no back drop/scenery.

Once again I am reminded of Lynch’s Inland Empire (2007): the half built wooded facades where Laura Dern’s character becomes lost amongst disturbed layers of reality. Parallels can be made here with Tarkovsky’s film Stalker (1979):

‘The thing about the Zone is that its always subtly reconfiguring itself according to your thoughts and needs.’ (Dyer, 2012)

‘In any magical realm there is always a deeper recess or chamber of more powerful magic.’ (Dyer, 2012)

This kind of space intrigues me. Firstly, I have to consider space…

Space is considered with reference to the stage designs of scenic designer Edward Gordon Craig (http://socks-studio.com/2014/02/15/to-transcend-reality-and-function-as-symbol-stage-design-of-edward-gordon-craig/ ) in a series of sketchbook drawings, using black ink and chalk…

IMG_0802 IMG_0803 IMG_0805

More appropriation within a space using existing images, traced and reconfigured…



Moholy-Nagy – Use of space and appropriation…

In his take on Photomontage, Moholy’s Photoplastics (http://moholy-nagy.org/art/photoplastics/) combined his own photographs and found imagery with drawing to create striking visual compositions. Moholy cut and pasted and drew until a coherent image emerged.

What is evident is flow within an economy of space…


Moholy-Nagy, L. Jealousy Photoplastic, 1925

Entrances and exits…Deaths and births…

Influenced by Moholy and affected by a recent Radiohead track/video (http://www.rollingstone.com/music/news/radiohead-release-stunning-daydreaming-video-ahead-of-new-album-20160506 ) and with a strange need to return to using purely pencil/graphite I created this drawing…


Dreamers, Pencil and graphite, 2016

A series of abstract and geometrical paintings and drawings created by the Russian artist artist El Lissitzky (https://monoskop.org/El_Lissitzky) between 1919 and 1927…

Imagine this (PROUN Series) as a minimalist, inter-changing stage set.


El Lissitzky, PROUN 1-C, 1919


El Lissitzky, PROUN The Bridge, 1920

PROUN is understood as the creative construction of form (based on the mastery of space) assisted by economic construction of the applied material…the builder consolidates them all together in his own experimental investigation…https://thecharnelhouse.org/2013/09/16/proun/

A few weeks ago I scrawled the words: Consider emptiness. Move away from complexity towards purity and simplicity.

Just as the scene in space switches to absolute silence, because of course: nothing can be heard in space, so too this happens for a moment in my work. I think that this comes through some kind of absence. The figure has disappeared for a while – it could be forever. Instead I am left with clues, the suggestion that a human presence once existed.

How did I dare to remove this aspect?

Weren’t the figures absent anyway?

That was the point.



Terra Firma Shift,  Pencil and chalk on paper, 2016


Untitled/Unfinished, Pencil and acrylic on paper, 2016

In some way I would like to achieve this in my work…

Swans tunes are built like spiderwebs: delicate enough to blow on, yet surprisingly durable against wind and rain, elegant but dotted with gruesome shapes in a complex, shifting geometry. p://pitchfork.com/reviews/albums/21994-the-glowing-man/

…and I am thinking about this…


Yves Tanguy, Palace On Window Rocks, 1942


impossible spaces…impossible stages…

20. Deliberation, Discoveries and Transitions

‘How can one build a better self unless on the ruins of the old.’ (Fowles, 1969)


In Place Out Reel, pencil, graphite and acrylic on paper. 2016

There is a sense that I need to justify my work through the explanation of ideas and meanings, those of which seem to have taken on a life of there own, begun to shift, mutate, merge, though fundamentally remain the same. Perhaps I am struggling to pin down these ideas, as there is no need to pin them down; they are happy developing, evolving themselves. There is no longer a need to justify my work or ideas because they naturally justify themselves through all that surrounds them.

I always believed that a reluctance (or indeed refusal) to speak about ones work ensured that a certain magic could be contained. Lynch is a prime example in this respect and his films vibrate through their withheld mysteries and uncanny qualities. Tarkovsky also believed that to ‘affect people individually…the ‘total’ image must become something private’ (Tarkovsky, 1972).

Insight into process is vital because it is here that discoveries are made. Allowing process to overcome deliberation and uncertainty is the key to unlocking doors which otherwise may stay closed forever.

‘The work of art lives and develops like any other natural organism through the conflict of opposing principles. Opposites reach over into each other within it, taking the idea out into infinity.’ (Tarkovsky, 1987)

After a ‘fantastic’ struggle with a recent piece of work I begin to wonder if in fact meaning and process are discreetly tied together after all.

IMG_0801web(I am tempted to call this piece: Subject To Change or Manifest/Withhold)

I know that this piece isn’t resolved but I am aware that time has been allowed to give it space and a chance to survive through the ongoing balancing of opposing elements. There were moments where I believed that the best thing for it was to be shredded. It was destined for the black recycle bin. It was a battle to keep it breathing. But I gave it a second chance. A third. I ripped and erased, struck and lightly touched. I wrestled with materials and cherished others. And then finally I understood:

…Discoveries come through transitions that occur beyond, or in spite of the consciousness. They happen without notice to surprise and excite only after a degree of struggle…

It all sounds very dramatic and one would expect to see a masterpiece. There is no masterpiece yet. It is enough to have gained some understanding.

As the opening quote suggests I have a sense that I am uncovering, obliterating and reconfiguring past ideas and processes to discover something ‘better’. Not only is this apparent within this actual piece itself, through both discreet and violent adjustments, but also in response and recognition of work made some years ago.

There is a feeling of coming full circle. I consider the diorama illustrations that I used to create – a way of working that I believed would hold longevity. It still could and therefore does. It’s just that I all too frequently need to draw, to feel the connection between media and surface or self and mark.


Love Machine

Found photos, card, found miniature plastic figures, plaster and gauze.



A Death’s Scroll

Card, found photo, paper, Photoshop




Found photo, bleach, ink, card



I believe that what has surfaced is the recognition of design in a space – the space being like a stage set…A place where I become the external force. Reconfiguring.

19. A Significant Journey


Matt Black, (Taken from sketchbook page), Pencil on paper, 2015

If the ‘web’ of the world were not fundamentally of the same nature as that of the soul, every individual would be imprisoned in his own dream – which is absurd. (Burckhardt, 1967)

Time has slipped by and for quite some time I feel like I have been consumed by research and essay writing. There are worse ways to pass the time, but it is good to finally be exhaling once again after inhaling so much information.

It is necessary here to reflect on the process of writing the essay: Blurring the Line: Examining the Significance of Interference. If I had the time or inclination I feel that a few charts and graphs peppered throughout would provide clarification of my journey, but I have neither, so words will have to suffice. I shall paste the Abstract for the essay at the end of this blog, but not the essay itself, which at this stage is still in need of some minor repair. I am happy to upload or email to those who are interested once ready.

The reason that I feel this is necessary is because throughout this time period my research/essay was feeding my artwork and vise versa. It was around the time that I started researching for the essay that I moved from working from old personal photos, video still etc. to digital imagery taken from social media. The core of my research was a dialogue between analogue and digital with an almost bombastic notion that the properties and qualities of analogue (tactile, physical, surface, presence, chance…) were being lost to digital (Static, detachment, order, synthetic, inauthentic, loss of form…).

The environment that man creates becomes his medium for defining his role in it. (McLuhan, 1996)

After reading McLuhan’s The Medium is the Message, first published in the 1960’s, many of my concerns began to take shape – namely that human beings are in a transitional stage that includes the process of succumbing to digital technology and ultimately taking on properties of the digital object.

Are we living in a digital universe?

After reading McLuhan’s The Medium is the Message, first published in the 1960’s, many of my concerns began to take shape – namely that human beings are in the process of succumbing to digital technology and ultimately taking on the properties of the digital object. Are we becoming digital and could the universe itself be digital?

These thoughts were then reflected back as I viewed the drawings of Michaël Borremans and Uwe Wittwer. Parallel to this I began making profound comparisons between Borremans’ work and T.S Eliot’s poem The Hollow Men (1925) and became bogged down in metaphors where ‘death’s dream kingdom’ became a portentious representation of Facebook. In my mind these pieces of art from different time periods appear to be depicting the same thing: a world populated by figures detached from reality, a time where the human condition is thrown into question and progress is revealed as an illusion.


Michaël Borremans, A Mae West Experience, pencil,

watercolour and white ink on paper, 2002

Extracts from T.S Eliot’s Hollow Men:

  Our dried voices, when

    We whisper together

    Are quiet and meaningless


   Shape without form, shade without colour,

   Paralysed force, gesture without motion…


  Such deliberate disguises


   In this valley of dying stars

   In this hollow valley

   This broken jaw of our lost kingdoms


   In this last of meeting places

   We grope together

   And avoid speech

These works speak to each other across the ages, revealing potent metaphors which I believe can be interpreted as reflections of the various states of the human condition as we journey through the digital age towards a post-human, post-physical world.

A synthetic past reconstructed from the limited information digital memory has stored about it, an utterly skewed patchwork devoid of time and open to manipulation in both what it contains, and what it doesn’t. (Mayer-Schonberger, 2009)

The trouble is that when you are in the midst of researching for an essay, everything has the potential to be relevant, because everything is relevant, because everything is connected. So whilst I fed my beliefs of an impending digital apocalypse, reading authors: Lev Manovich, Sherry Turkle, Mayer-Schonberger and more McLuhan, I spiraled into many tangents and became quite dizzy. The time came to hone and hone some more.

By refining I suddenly found myself stumbling over the same recurring idea: Interference as an external force. It was as though I had come full circle (recall the distorted video tapes in Blog 13 where time had appeared to reveal ‘truer picture’) and the circle was brimming full of a pulsing plethora of theories and information and I needed the cream to float to the top.

I now look back through my work and understand that interference has played a part for many years. I consider that this could have arisen from my early infatuation with the work of Francis Bacon. I felt it strange that I had never noticed this before.

Borremans and the ideas that I’d built up around his work , I moved back to Doig and Uwe Wittwer as part of my investigation as to what these layers of interference could mean in the digital age.



Uwe Wittwer, Three Sisters, 2009.

Inkjet, 150 × 180 cm


Peter Doig, Reflection (what does your soul look like), 1996.

Oil on canvas, 295×200 cm.

New Work (2015-16)…

Whilst producing the charcoal drawings (shown in previous blog) I began to question the authenticity of the original source material, feeling that my drawings had revealed a new kind of ‘truth’. This was particularly so with images that were either distorted, blurred or corrupted in some way. The notions of time, history and serendipity began to intrigue me, as an external force around the source material and as part of the drawing process.

I began to consider the image as a document of memory, truth and time. This led me to think about how we use images today; especially in the arena of social media which becomes a platform for individuals to make their lives and memories public. These are images that are up there (and out there) indefinitely – in some cases: even once you are gone: A kind of memorial of shared memories. How much do these images define us? What will be left when we’re gone?

IMG_0327webIMG_0324webMatt Black, (Taken from sketchbook pages), Pencil on paper, 2015

They’re curating their lives. So their social media presence, which all but ceases to exist. (Sorkin, 2016)

IMG_0328webMatt Black, Untitled, Pencil and graphite on card, 2015

IMG_0502web IMG_0501web IMG_0500web IMG_0504web

Matt Black, Untitled, Pencil, graphite, acrylic paint, Graph paper scroll, 2015

As mentioned previously, the decision arose to move from personal to public – from analogue to digital imagery taken from social media. By doing this I began subjecting the digital image to a wholly analogue influence, bringing it back into the realm of the material and physical, that which is. I had now become the external interference: creating, manipulating and subverting in real time and space. The image is appropriated, reinvented, reinvigorated – but it is often fragile, without substance, fragmented, almost transparent in some cases, as it feels a pull to its origin (Death’s Kingdom). An ongoing conflict between analogue and digital creates this push and pull between what is and what was, between life and death.

….More thoughts on this:

How quickly Bowie became a ‘was’ on Wikipedia.

A photograph is a depiction of something that was.

A painting or drawing – Can that be an ‘is’? Answer: Perhaps, as long as it is moveable/changeable.

A film is an impression of time. But it is a time that was.


IMG_0499web IMG_0497web IMG_0496web IMG_0495web IMG_0494webMatt Black, Untitled, Pencil and graphite, Graph paper scroll, 2015

Throughout the creation of these latest pencil and graphite drawings a kind of narrative has inadvertently evolved – one that perhaps starts with social media and then transforms itself into something more personal. The choice of image is of interest to me here: I am never quite sure how it works or what I’m looking for. The process of searching and looking often becomes a reverie where, occasionally, an element of randomness creeps in. Although one thing is certain: I have little if any connection with these images at the outset. This can and does change though. A relationship is built up. By re-contextualizing elements, editing out and severing I begin to create scenarios that comment on death, loss and desire. It is as if a strange truth emerges through the process of drawing, one that is in opposition to the throwaway nature of the original – probably all but forgotten by its original maker.

IMG_0491webMatt Black, Untitled, Pencil and graphite, Graph paper scroll, 2015


The Abstract for essay: Blurring the Line: Examining the Significance of Interference


This essay investigates how techniques of interference employed by visual artists allow for deeper insights into the human condition. We live in a digital age where Walter Benjamin’s theories (1936) on the loss of ‘aura’ and Barthes’s disintegration of consciousness and identity (1980) resonate through and beyond the influx of digital images. As the truth of image and indeed reality is put into question amongst a mass of digital information, focus is given to contemporary artists using photographic source material as a vital part of their process. Through close investigation of art works by Peter Doig, Uwe Wittwer and Joseph Nechvatal, representation and transformation are considered both of material and consciousness. This provides theories as to how this is achieved through unique processes of interference that reveal hidden meanings and create openings within the picture plane and beyond.

References are made to the notions of analogue – with its properties related to material, surface and history, providing necessary and potent metaphors about human presence and nature.

The overriding points within the essay, those that make their way to the surface, are: time, chance and a fleeting chaos. Time and the momentary abandonment of control is vital for the nourishment of chance and serendipity – There is a need to invite a positive interference and to embrace a kind of chaos, one that accepts the process of mistakes to achieve an understanding of what it means to be human in a digital world.



Burckhardt, T (1967) Alchemy: Science of the cosmos, Science of the Soul Penguin Books inc

Mayer-Schonberger, V (2009) DELETE: The Virtue of Forgetting in the Digital Age Princeto University Press

McLuhan, M & Fiore, Q (1996) The Medium is the Massage Penguin

Manovich, L (2001) The Language of New Media MIT PRESS