Detail of Universal Code Oil on linen 92 x 102 cm 2015
The entire painting is below
This photo shows a section of binary code repeating the word LIFE.


Code Oil on linen 60 x 110 cm 2015
In my paintings, I 'play' with perspective, landscape, the tree-of-life symbol, cosmology, various meanings of code and more. When I paint I think about all of these things and what they might mean in the cosmological and technological 21st century.

For example, the painting above is called Code. It 'asks' where the code of life might be found. Is it in the inherent symbolism of the age-old transcultural/religious tree-of-life or in binary code or perhaps in some other kind of code or maybe there is no code? If you look closely some of the tree's branches are electronic circuits and the swirling tail of the tree ends in binary code for LIFE.

For insight into my love of the tree-of-life please read TREE-OF-LIFE DREAMING

is a loaded word, with various permutations of meaning. There are security codes, secret codes, code breakers, speaking in 'code', criminal codes, codes of practice and behaviour, computer code, genetic code etc. Each permutation is linked ie: underlying arrangement of signals expressing information that is manifested into something or in behaviour. 

In the 21st century, with the explosion of technology, it is unseen computer code that ubiquitously impacts on our daily lives.
                                                   Unseen Oil on linen 90 x 80 cm 2015
These  paintings reflect upon the way technology, and particularly emerging technologies, are increasingly influencing our lives, in both good and bad ways. Ideas about interstellar travel and possible settlement, post-human future/s, existential risks, Earth and space sustainability, simulation theories, and more are all woven into the paintings. They also continue my quest to untether ideas of landscape from Earth-bound horizons.
 By propelling perspective beyond Earth I sense that new ways of viewing our planet and ourselves will emerge. These new perspectives may reveal pathways into the future that assist in mitigating risk and enhancing sustainable opportunity.
And, I love the contrariness of using painting to reflect upon 21st century technology.
Seeking Perspective oil on linen 92 x 102 cm 2015

The painting below Where There's Life There's... plays with the old saying Where there's life there's hope. But! Maybe the 'new old saying' could be Where there's life there's code?
A coil of code repeating LIFE unravels across the cosmic sky finally linking up with a branch from the tree-of-life. BUT! There are small branches teasingly dotted along the ribbon of code. Does the 'code' emanate from the tree or from the coil? Is there even a beginning...or an end?
This painting toys with concepts of simulation theory, trans-humanism, artificial intelligence and the penetration of technology into 21st century modes of living. Yet, the seriousness of these issues is not initially obvious to the viewer. The painting's cosmic beauty attracts attention and once this is gained details emerge, holding the viewer slightly longer and ultimately engaging them with wonder and questions.
Where There's Life There's... is a cosmic landscape and is definitely an attempt by me to untether landscape from Earth-bound horizons to throw it out into the universe. Life emanates from the deep past in the star dust created at the Big Bang. Thus, star dust is landscape.
Where There's Life There's... oil on linen 92 x 102 cm 2015
The painting below Universal Code also features a ribbon of binary code repeatedly expressing LIFE. Again, this is a cosmic landscape, posing questions about the literal and known boundaries of space, the universe and maybe the multiverse. As with a few of my paintings, I was also thinking about Oxford University's Prof Nick Bostrom's theory that existence is a computer simulation, run by post-humans. You can read about the simulation argument and theory HERE
 Universal Code Oil on linen 92 x 102 cm 2015

I grew up on my parent's farm on the flat treeless Pirrinuan black soil plain in Western Queensland, Australia. The enormous distance of my childhood landscape has profoundly influenced my work and ideas.

Another important influence is that I grew up surrounded by technology. My father is a HAM radio enthusiast, a passion that he took up as a 12 year old. I grew up in a house full of gizmos and gadgets. Dad also had a detached building which we called the HAM shack. It was full of electronic equipment. The flat horizon of my childhood landscape was punctured by tall aerials which Dad built to receive and send messages to his HAM mates across Australia and around the world. Our vehicles were equipped with radio signalling devices. In his late teens my father built a device to track the first satellite in space, Sputnick 1. In the early 60s he built our first TV. As a farmer he embraced any new technology that improved efficiencies and production.

This early exposure to technology influenced me and my two brothers. One brother is, in fact, an IT specialist [super computing and data collection/analysis].

Our Mother's influence was to expose us all to art and culture. She has three University degrees, including post-graduate. She writes, paints and enjoys lively and intellectual conversation.

Please read a recent post CODED LANDSCAPE AND THE BLACK SOIL PLAIN to read more about the influence of my childhood landscape and HAM radio.
Perspective oil on linen 36 x 36 cm 2015
Objects oil on linen 85 x 147 cm 2015

Below is a selection of eight works on paper. 
They are all a mix of gouache and watercolour.

Can We leave?
Life Calling  [SOLD]

 Which One?


1 comment:

Unknown said...

hello, I just recently found your art work by looking for Ouroboros images and art. I love your artwork. THank you for what you do!!!