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We are in the midst of a Copernican crisis in which human intelligence is being de-centred by machine intelligence. In parallel, the post-truth media exploits digital surveillance to manipulate attention and perception. My paintings emerge at the intersection of these crises. I respond by foregrounding the artist-as-machine, through rules, optimisations, and mechanistic processes, and the viewer-as-machine, through perceptual instabilities, optical illusions, and semantic dissipation.

I engineer hard-edged abstract oil paintings in which colour shift phenomena operate as an attack on the human visual system, exposing its mechanistic basis. Repeated, redacted and obfuscated obscenity hovers between legibility and abstraction, producing semantic drain to the point of new emergent meaning.
Perceptual instabilities reflect on the challenges of discourse in a post-truth society. These paintings do not offer certainty. Rather, they reveal the fragility of truth, and the possibilities that emerge when modes of knowing collapse.

My work denies the viewer their accustomed position of perceptual dominance and reminds us that we are all machines.