EXPANDING PAINTING.

Various found objects and substrates. Latex and acrylic paint. Canvas on stretchers.
A balloon. Gym floor tape.

320cm X 215cm X 115cm. 2026.

Heath Robinson arguing with a determined skip raider.
They try to make sense of a set of Fluxus event scores. 
An ensuing ruckas (shouting, things scattered all over the pavement, a skuffle etc). 
Or summat like that!
A trapped ghost branch. A porters trolley (no wheels). A guide-dog harness.
A canvas facing the wall.

“It’s very interesting Stephen, but it won’t really fit above the mantelshelf, will it?”
From a conversation a long time ago with my Mother-in-Law, Linda Street.

“Our brains are wired so that we want to make meaning out of things. If you watch videotape and the monitor screen turns to snow and you sit there looking at the snow, you can become convinced that you are going to see something. It just can’t just be white noise”.
John Baldessari.

Studio wall install.

Painting is dead. Long live Painting.
Painting can ‘fuck right off’. All hail Painting the ‘King of Art’.
Oh Painting you are so old and tired.
Hey Painting, this is fun and new and funky and all that.
On repeat. A locked groove.
The fable of ‘The Baby and the Bath water’.
The baby is bruised and upset. The bathroom is soaking wet.
The mirror is steamed up. The soap is impregnated with hairs…

Expanded titles.

“I pursue no objectives, no systems, no tendency; I have no program, no style, no direction. I have no time for specialised concerns, working themes, or variations that lead to mastery. I steer clear of definitions. I don’t know what I want. I am inconsistent, non-committal, passive; I like the indefinite, the boundless; I like continual uncertainty.”

Gerhard Richter.

“First you’ll close your eyes to the pictures. Then you’ll close your eyes to the memory.
Then you’ll close your eyes to the facts. Then you’ll close your eyes to the entire context”. Harun Farocki.