Central to my interdisciplinary practice is a painter’s aesthetic and an experimental approach to working in video, audio, digital and traditional painting.
My digital work is concerned with image generation, re/degeneration, meta-exposure, pixilation, glitch, noise, drones, visual and audio ambience, grid and organic forms.
The following is a description that describes a framework I have adapted as central to my practice. I also work freely outside of it.
I use Morse code and Piano Roll as visual and audio coding to create sight sensitive installations base on the proportional aesthetics of fractal/complexity expressions.
Lux Coda began as a title for a series of paintings that exploit ambient light, colour, texture and shape-scale proportions. Over time it developed into a framework of visual and auditory coding by combining Morse code and Piano Roll sequences into colour field painting-sound installations. I am currently working on including video based work with these elements.
The direction of this approach has become a method of working within a fractal/complexity/chaos/code-based system, not simply representing it.
Each project is adapted to the space and/or medium in which it is executed, derived from the proportion principles of fractals as applied to Morse code and/or Piano Roll sequences. Sequences can be simultaneously: Morse and Piano Roll, word and sound, individual painting and colour field composition.
My primary concern is the aesthetic experience and using this method to structure the expression.
Here is a visual in the form of a flow chart.