WINGMAN (MQ-28 GHOST BAT): ONLINE EXHIBITION

                                             Wingman (MQ-28 Ghost Bat) Oil on linen 97 x 115 cm 2020

This online 'exhibition' was launched in September 2021. Since then I have made a few updates. In late March 2022 the Loyal Wingman drone was renamed the MQ-28 Ghost Bat. Here's a Boeing Youtube Video  and an article in Defence Connect online about the rename.

2024 UPDATE:

I have added two more paintings that feature my versions of Ghost Bat drones. One is Force Multiplication  and the other Ghost Sky .

2023 UPDATE: 

February 2023, I have added a new painting Ghost Shadows. 

WINGMAN (MQ-28 GHOST BAT): Online exhibition.

September 2021

What prompted me to curate this online exhibition?

A few days ago it was announced that the Royal Australian Air Force and Boeing jointly developed Loyal Wingman drone [MQ-28 Ghost Bat] is proposed to be assembled at the Aerospace and Defence precinct at Wellcamp airport, near Toowoomba, Queensland, Australia. You can read the Queensland Government media statement here.  

Wellcamp - Toowoomba
I know the Wellcamp area, but it has changed a lot in recent years! Since local Toowoomba company Wagners built the international airport at Wellcamp, Toowoomba has become a major hub, other than for boarding schools, retired country folk, and specialist medical help. I grew up on my parent's grain farm outside Dalby, about an hour west of Toowoomba. I went to school in Toowoomba for the last part of my secondary schooling. My maternal grandfather's family had a property at Drayton, not far from Wellcamp. My paternal grandmother grew up on a farm very close to Wellcamp, on the other side of Gowrie Mt. My paternal grandfather's first property, after returning from WW1 [Light Horse], was also close by. 

Research
As regular readers know I have been researching airborne drones, surveillance systems, and increasingly autonomous systems, for over six years [Update 2024: now nine years]. My current PhD [conferred December 2023] research examines [examined] increasing military interest in the electromagnetic spectrum [EMS] as an enabler of technology, a type of fires [weapon], a manoeuvre space and a domain. The EMS is also an enabler of civilian technology ie: communication, GPS, Internet, Cloud storage, security systems and so much more. So, my PhD research also examines [examined] how signal-enabled connectivity, interconnectivity, and interoperability of systems and devices exposes civilian technology to appropriation by state or non-state militarising forces. 

* My PhD thesis is available at Curtin University's [Western Australia] e-space, Drones, Signals, and the Techno-Colonisation of Landscape.

Wingman (Ghost Bat) Paintings
Last year [2020] I started painting images that included the Loyal Wingman drone, Australia's first manufactured military aircraft in over fifty years. Described as a 'gamechanger' in drone technology, the Loyal Wingman [MQ-28 Ghost Bat] is designed to accompany crewed fighter jets. There is a plethora of online commentary about the Ghost Bat drone's capabilities, which include, autonomous functions, enhanced electronic and electromagnetic capabilities, advanced multi-sensor capabilities, and stealth design. Interchangeable nose-cones will provide payload dexterity across a crewed and uncrewed teamed mission. The drone is also export-able. 

In 2019 I wrote a post Pay Attention: The Drones Are Here where I first mention the Loyal Wingman drone. 

WINGMAN - GHOST BAT

THE EXHIBITION 

While informed by extensive research, my paintings are speculative and imaginative. They are the result of what I call 'imaginational metaveillance', a 'flight' into imagined cosmic perspectives. This 'flight' is taken without the aid of augmenting or simulation technology. With the benefit of imagined distance, what anomalies can we see as we fly around and beyond drones and their support infrastructure? I say we because I invite you to 'fly' in your imagination too. 

The paintings are chronologically displayed, from the first to the most recent

Each painting in the exhibition has a hyperlinked title. Please click on these to read my previous posts about each painting. 

Theatre of War Gouache and watercolour on paper 56 x 76 cm 2020

Theatre of War: Terrain Visualisation Gouache on paper 56 x 76 cm 2020

Theatre of War: Smart Team Gouache on paper 56 c 76 cm 2020

Theatre of War: Pattern Recognition Gouache on paper 56 x 76 cm 2020

Verified Landing Site Oil on linen 92 x 112 cm 2021

Future Memory Oil on linen 122 x 137 cm 2021

Artificial Trees: Pulling the Future Towards Us Oil on linen 92 x 112 cm 2021

                                  Theatre of War: Photons Do Not Care Oil on linen 92 x 112 cm 2021

Ghost Shadows Oil on linen 92 x 112 cm 2023

Ghost Sky oil on linen 65 x 112 cm 2023

Force Multiplication Gouache on paper 56 x 76 cm 2023

WINGMAN: List of Paintings

Wingman April 2020

Theatre of War September 2020

Theatre of War: Terrain Visualisation October 5 2020

Theatre of War: Smart Team October 10 2020

Theatre of War: Pattern Recognition October 27 2020

Verified Landing Site  April 2021

Future Memory May 2021

Artificial Trees: Pulling the Future Towards Us June 2021

Theatre of War: Photons Do Not Care  July 2021

Ghost Shadows February 2023

Ghost Sky  November 2023

Force Multiplication  December 2023

Thank you for viewing,

Kathryn

THEATRE OF WAR: THE CLOUD

Theatre of War: The Cloud Gouache and watercolour on paper 56 x76 cm 2021

This is my 11th or 12th painting in my Theatre of War series. I'll have to write one post with all of the paintings, so you can see them as a body of work! 

PhD Research

Theatre of War: The Cloud is informed by my current PhD research into the increasing interest militaries around the world are paying to the electromagentic spectrum (EMS) as an enabler of technology, a type of fires, a manoeuvre space and a domain. I am examining the use of frequencies for military purposes, and the ability for state or non-state actors to appropriate civilian technology via the EMS. I pay particular attention to the spectrum range from radio to visible light frequencies. 

THE CLOUD

The Cloud ie: the euphemism we ascribe to the contemporary world of networked and interconnected digital and cyber technologies, is of great interest to me. The concept provides the means for interoperability, a key aim for modern militaries. This means that traditional army, navy and air forces work together using technology that networks capabilities across all of their domains. The military term 'joint force' also encompasses the digital and cyber domains of information and cyber war. The space domain is also drawn into this interoperable mix, with satellites playing pivotal roles in communication, operability and connectivity. The Cloud, however, is not just a military asset - civilian technology also relies on the connectivity, operability and communication that EMS enabled Cloud technologies and systems enable and use.

I have been researching the idea of the cloud as a metaphor. One interesting way of thinking about The Cloud is to draw upon John Ruskin's nineteenth century observations of 'plague clouds' and 'plague winds'. Is militarisation of technology, including the militarise-ability of civilian technology, like a 'plague wind' blowing through the EMS? Is The Cloud, therefore a 'plague cloud'? 

Theatre of War: The Cloud

In Theatre of War: The Cloud I have tried to represent an excavation of military interoperability. The painted-in circles at the bottom of the painting are underwater, possibly autonomous underwater vehicles or sensors. Through the middle are land-based and on-sea systems, possibly also autonomous. At the top of the painting, an airborne drone and a satellite over-watch. In each of the circles with obvious clouds, the technology is obscured. This implies that systemic complexity obscures understanding. The repetition of red and white circles across the painting indicates interconnectivity. These circles visually form a stylised cloud that draws all operations together. That this cloud extends beyond the painting is clear. It is part of The Cloud.

While I conceived Theatre of War: The Cloud as an excavation from sea to space, the painting can also be viewed as a map. This play with perspective is deliberate...

Cheers,

Kathryn

INTIMATE DISTANCE

Intimate Distance Gouache and Watercolour on paper 56 x 76 cm 2021

 

This painting responds to the times in which we live. Times of pandemic, climate change, individual natural disasters, political decay, and failed wars. Sounds dire I know! Painting, for me, is a way to process what is happening. I hope you find what I 'see' of interest.

As Baudrillard, Virilio and others have noted, the effect of instantaneous delivery, onto our various screens, of news and images from hotspots around the world, draws us all into a kind of intimate experience that collapses distances of time and place. Virilio's "temporal compression" in a world of mayhem is a felt experience - a burden and an anguish. (1) 

Intimate Distance invites you to fly. Are you above or below the drone and the strange eyes? Or are you in front of them or behind them? Can you move from one perspective to another? Are the eyes representative of people or are they fake eyes, representing surveillance technologies and systems? One eye's pupil displays a targeting graphic, another eye displays a screen. What is the relationship between these two eyes? There are a few possibilities. 

Intimate Distance invites you to fly, to experiment with what I call 'imaginational metaveillance', a chance to imaginationally 'view' a big picture - to take yourself away and beyond. What kinds of patterns and anomalies can you 'see'. There is hope in the ability to move between and around different perspectives, both literal and metaphoric. 

Here is an anomaly for you. The scape, whether you are looking up at a skyscape or down upon a landscape, attempts to show another kind of scape, one which is invisible but imposed on our environment. It is the scape of technological interconnectivity, networking and interoperability, enabled by harnessing frequencies in the electromagnetic spectrum [EMS].  This new imposed 'landscape' of signals and nodes mediates human behaviour in ways that are not simply about material or visible hardware/devices. Are you aware of it? 

And, there is more to think about!

Cheers,

Kathryn

(1.) Paul Virilio, The Original Accident, trans Juli Rose (Cambridge, MA and London, UK, Polity, 2007) p. 13.

 

VERIFIED LANDING SITE

Verified Landing Site Oil on linen 92 x 112 cm 2021

Verified Landing Site continues my interest in thinking about portraiture in an age of facial recognition technology. My last post ME: Portraiture in the Age of Facial Recognition details some of my thoughts - plus - there is a self-portrait - or is it?

In Verified Landing Site I have combined facial recognition-type computer graphics with  airport landing-type graphics. In this case the Loyal Wingman* drone, positioned in the middle of the blue 'iris', gives a clue to what kind of craft is landing. However, the idea of 'landing' is also a metaphor for landing on our subconscious.

Cheers,

Kathryn

*Previous Wingman post and painting. 

ME: PORTRAITURE IN THE AGE OF FACIAL RECOGNITION

ME: 01001101 01000101 Oil on linen 92 x 112 cm 2021

 

ME is a self-portrait. It is a painted self-portrait. It visually parodies facial recognition computer graphics.*

IDENTITY & VERIFICATION
For me, my defining features are my very blue eyes, and my long hair which I wear in a loose, often messy, bun. Despite these defining features appearing in the portrait, further confirmation that ME is me is given with a verification tick generated by facial recognition technology. This is corroborated by the binary code 'instructing' the word ME. I ask, are we heading for a future history where identity is verified only by AI and coding? If identity verification is ubiquitously provided by technology, will human beings stop looking - and - seeing? Maybe - think about the way contemporary motor vehicles have smaller windows, especially at the rear, than years ago. We don't need to look - or see - when sensors are embedded! This is what I have been told by many car salespeople. 

In a world of digital imaging, facial recognition and biometric scanning, this painted self-portrait is possibly not verifiably me, simply because it is a painting and not a computer graphic, generated by facial recognition technology. Which has more authority, a painted self-portrait or a computer generated image? In the age of fakeness, I think the painted self-portrait certainly has authority! As a painting, my self portrait is untethered from reliance on algorithms, signals and an energy source [battery, electrical]. It exists as an independent unit, unconnected and not networked. As a painting, I think it is defiant in the face of such technology!

Are we in danger of being defined and verified by surveillance photography and digital scanning? Given questions around using AI to detect emotions, I think this is a key question, among many. Check out this short article about this topic, by Kate Crawford, in Nature 

PORTRAITURE
As I painted ME I wondered what might happen to portraiture in the age of facial recognition. Will painting survive as a human activity? Will paintings by human beings be influenced by pervasive technologically synchronised and homogenised aesthetics? What might happen to artists who don't fall into the influence of aesthetic homogenisation?

My gambit, with ME, is visual parody.

DRONE
And, for regular readers, there is a drone! The airborne drone gives a clue that facial recognition is being used to monitor my behaviour, identify my person, document my whereabouts. But, there is another way to look at this! As a painting, in reality, you and I have the drone under surveillance, its signaling exposed, and its connection to insidious surveillance revealed. That this information cannot be tracked, hacked, modified or datafied - because it is a painting -  may be scurrilous...how delightful! 

I think this self-portrait says a lot, and more, about ME!  

* Is It Me? is another self-portrait you might like to see and read about.

Cheers,

Kathryn

THEATRE OF WAR: SMART TEAM

Theatre of War: Smart Team Gouache and watercolour on paper 56 x 76 cm 2020

 

Theatre of War: Smart Team is number three of a Theatre of War series. I am not sure how many paintings there will ultimately be! You - and I - will just have to wait to see! 

Theatre of War
Theatre of War: Terrain Visualisation

Loyal Wingman Combat Drones 
In Theatre of War: Smart Team I have painted three Loyal Wingman combat drones and a piloted/manned fighter jet. The Royal Australian Air Force and Boeing have collaborated to develop the Loyal Wingman drone, using Australian and international expertise. The drone is designed as a 'wingman' support for piloted/manned jet aircraft. The first test flights are, apparently, to occur in late 2020. The Loyal Wingman drone has been labelled a 'gamechanger' in military drone technology. Indeed, the weaponisable drone certainly will be equipped with a plethora of advanced capabilities that range from some autonomous systems utilising AI, swarming potential, advanced electronic and electromagnetic warfare technologies, payload flexibility enhanced by interchangeable nose cones and more. This drone represents the first Australian made aircraft for over 50 years.

The Loyal Wingman drone has been developed under Boeing's Airpower Teaming System: A Smart Unmanned Force Multiplier. 

Teams of piloted/manned aircraft and unmanned highly advanced combat drones will soon be deployed into our skies. And, these teams will be smart teams! 

You can read more about Australia's Loyal Wingman drone, plus some information about similar projects in the US and the UK, here at this article Behold Boeing's Loyal Wingman Drone for Australia-as it Rapidly Takes Shape in The Drive: The Warzone. 

Theatre of War: Smart Team 
In Theatre of War: Smart Team the aircraft are linked by painted red lines. These lines indicate signal-enabled teaming capabilities. Like any 'theatre' performance, teamwork is crucial to success. In this painting the red lines forming patterns that appear to dissect the landscape seem to suggest a stage, but is it structurally sound, is it complete, is it real? These red lines mimic terrain visualising technology that would normally be seen as a graphic on a screen. Maybe we, the audience, are actually observing something on a computer screen? Or, maybe the terrain visualisation is for the drones' scopic or geolocating requirements? If we see the painting as a theatre set, the team of aircraft hang like either a prop, or a performing protagonist. The red line stretching beyond the painting's edge can be read as a literal signal connection to a satellite or a ground control station, or it can be read as some kind of string, like a puppet's string. As a metaphor, a puppet's string, conjures some troubling thoughts about who or what is ultimately the theatre's 'director' - who or what is in control. 

Maybe we are not an audience at all, but also protagonists playing a variety of roles in the contemporary theatre of war?

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Can you pick the Loyal Wingman drones in Theatre of War and Theatre of War: Terrain Visualisation below?

Theatre of War Gouache and watercolour on paper 56 x 76 cm 2020

          Theatre of War: Terrain Visualisation Gouache and watercolour on paper 56 x 76 cm 2020

As always, I could write more, but I will leave it here, for you to ponder.

Here is a link to a previous painting and post called Wingman

Cheers,

Kathryn

WINGMAN (MQ-28 GHOST BAT)

Wingman (MQ-28 Ghost Bat) Oil on linen 97 x 115 cm 2020

UPDATE: Late March 2022 the Loyal Wingman drone in Australia will now be called Ghost Bat. Here's a Boeing Youtube Video  and an article in Defence Connect online.

The Royal Australian Air Force and Boeing are collaborating to develop a new drone, a Loyal Wingman drone.The drone will fly to support manned aircraft, hence the name 'wingman'. With surveillance, stealth and weapon carrying capabilities the drone will be piloted remotely and/or by pilots in manned aircraft of various kinds. Artificial intelligence will be incorporated as a 'force multiplier' to aid an array of capabilities. This drone, when its development is finalised, will be Australia's first 'homemade' weaponisable drone. You can read more about the Loyal Wingman drone on the Boeing Airpower Teaming System site HERE  .

Added May 5 2020: Today, further news was about the Loyal Wingman drone released by Boeing. You can read that news on the Boeing site HERE

Also today May 5 2020 , an excellent overview by Tyler Rogoway of the drone "Everything We Learned From Boeing About Its Potentially Game Changing Loyal Wingman Drone" was published in The Drive

I am not going to go into more detail about the Loyal Wingman drone, because the Boeing site has it all, including videos, press releases etc.

Wingman Oil on linen 97 x 115 cm 2020

What I am going to do is write a bit about my new painting Wingman. 

In the bottom left of the painting I have painted a Loyal Wingman drone in shades of surveillance night-vision green. I have also painted Australia's Parliament House with two civilian drones hovering in the sky above it. Parliament House is suspended in space, as if it is also an aircraft, possibly the manned system my Wingman supports? In the top left I have painted a satellite, again in shades of green. And, a pale blue dot acts as a sentinel, a reminder of 'home'. All of these elements hover in a cosmic space, but invisible signals - and politics - link them all.

The painting offers open-ended, but political and provocative, narratives. It speaks to the a present and a future increasingly occupied by militarised and militarise-able technologies with persistent and ubiquitous reach. 

What do you think? What kind of stories can be told?

Finishing the satellite in Wingman

The Word 'Wingman'

The name Loyal Wingman is an intriguing one for an unmanned system. Surely the word WingMAN, in some ways, re-mans the unmanned! Traditionally a wingman was a pilot flying as support, outside or behind a lead aircraft or formation. More colloquially, a wingman is someone who acts as support  in a social situation, for example, at a bar. 

I ask, does the word wingman, in some form or other, anthropomorphise or humanise the object - the drone? If so, what does this say about subliminal or overt human desires to have relationships with technology? After all, a drone cannot desire - so - any relationships human beings think they have with drones are going to be one-sided affairs! Does the word wingman create a sense of relationship, by promising attributes of  mateship and buddyship? 

Like ascribing attributes of vision to a drone that cannot see, let alone imagine and dream, the word wingman infers a lot more than protection. What kinds of dangers lurk when we humanise drones and other technologies by giving them names, and ascribing attributes, that denote human capabilities? 

AND, what about the word loyal? Surely a wingman is meant to be loyal, so why re-enforce loyalty in the name of a sensored, but not sentient, object? 

And, as always there is a lot more to ponder, but I will leave it to you now!

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I've previously written about potential problems associated with humanising or embodying the drone. Please visit my previous post with lots of paintings The Drone: Do Not Embody

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Other paintings and posts that intersect with Wingman

Walking The Dog, In The Drone Age

AI: Posing Questions 

Drones and Code: Future Now 

Pay Attention: The Drones Are Here

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What's In The Stockroom  

Showcases nine small paintings under $2000 AUD. 

Prices are current until May 18. 

Cheers,

Kathryn

GOD?

GOD? Oil on on linen 41 x 51 cm 2019

No answers

Only questions

Colourful zeros and ones

'Instruct'

The word

GOD

This painting depicts an algorithmic representation of the word GOD:  

01000111 01001111 01000100. 

The painting also depicts an ambiguous landscape with diagonal lines that cut through it.

Is the binary code - the string of colourfully painted zeros and ones - a representation of GOD? Note the question mark in the title of the painting. But, there is no question mark, or instructed binary code question mark - 00111111 - depicted in the painting. Is this GOD a proxy?

  

Here are a few more questions! Is the painting a representation of GOD in a landscape or GOD as landscape? Is it a real landscape or a computer generated landscape? Perhaps the diagonal lines convey orienting graphics on a computer screen, maybe the screen of a remote militarised drone pilot? Maybe it is a computer game? Is there a target?

What does the binary code 'instructing' the word GOD mean? I don't have an answer - there was a lot going on in my head when I painted it! However, this question can, perhaps, be addressed with other questions, such as  - where, what and how is GOD in the age of the algorithm, the era of the drone, and the epoch of ubiquitous surveillance, and increasingly autonomous systems? 

Regular readers will know where these questions come from.

A recent post HUMAN or Algorithm has more of my paintings depicting colourfully painted strings of binary code that playfully, but critically, 'instruct'.

I'll leave it to you now.

-------------------------------------------------

NEWS

Check out the Aesthetics of Drone Warfare project, University of Sheffield, UK

And, particularly check out the project's forthcoming conference, February 2020.

I am speaking.

And, you will notice that my painting New Horizons is the conference image!

Cheers

Kathryn

www.kathrynbrimblecombe-fox.com

AUSTRALIA: DECEMBER 2019 - FIRE AND DRONES

Australia: December 2019 Oil on linen 23 x 62 cm 2019

In Australia, as 2019 closes:

Fires rage across a dry country. 

The RAAF's MQ-B9 SkyGuardian weaponisable drones have been ordered. 

...................................................................

Fire changes and disrupts landscape, environment and lives.

The airborne militarised drone, a paragon of 21st century techno-power, changes war, and therefore, life.

......................................................................

I had a lot of thoughts rumbling in my head when I painted Australia, December 2019. But, predominantly I was reacting to current news events, the type of events that can define the future. 

Do we let these events define the future - are we letting them, define the future?

.....................................................................

Australia, December 2019

Flames

Hot

Dry

Landscape

War

Future

Landscape, war and the future.

Landscape, real and virtual.

War, networked and everywhere.
Future?

Flames

Politics

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Update January 1, 2020
Another fire and drone painting is discussed at
ARE WE PREPARED?  January 1, 2020

And, some paintings from 2017.

Hot Gouache on paper 56 x 76 cm 2017

Fire and Flood, Extremus Gouache on paper 56 x 76 cm 2017

Anthropocene Gouache on paper 56 x 76 cm 2017

And, the Aesthetics of Drone Warfare project's conference is in February. Here, is there promotional flyer for the conference, with my painting New Horizons as the central image. 

Cheers, 

Kathryn

www.kathrynbrimblecombe-fox.com 

THE WIND ASKS, WHICH DIRECTION?

The Wind Asks, Which Direction? Oil on linen 81 x 102 cm 2019

This new painting The Wind Asks, Which Direction? is connected to another painting called Beware, Whispers the Wind [below]. 

In both paintings I am interested in how virtual landscapes and landscapes with superimposed screen-based computer graphics mediate our relationship with, and understanding of, environment. In The Wind Asks, Which Direction? red and white lines mimic computer graphics overlaid onto a landscape which could be real or not real? Is this an image from a computer game, or maybe an image on a remote drone pilot's computer screen? A compass exposes a tension between the real and not real, its four cardinal points are all 'N'. But does this 'N' mean 'north', or does it mean 'no direction', 'nowhere', 'nihilism', 'nothingness'? The compass has no dial.

Tree-of-life

Red trees-of-life, positioned in the background landscape, sway in the wind. However, one sways one way and the other sways in the opposite direction. Does this mean there is turbulence out in the landscapes of reality, the wind agitating for our attention? Does it indicate that when the wind blows in one place, it can blow another way in a different place - like in real life? Maybe the trees attempt to restore reality by demonstrating that the wind still exists? But, could these trees be sending a warning, that direction is lost in a world where the fake compass, a metaphor for the 21st century, has wielded its influence? The red trees-of-life differ from the white trees 'planted' on the red line graphic. The white trees are the same colour as the compass. The trees are as fake as the fake compass. What are we witnessing?

Pixels

The tension between reality and the virtual is also indicated by the small squares of colour that appear to form parts of the landscape. These squares mimic pixels. Are they indicators that the background landscape is a computer generated image? Or, do they indicate that this landscape pretends to be virtual, as a subterfuge - a strategic measure of exposure. Or, do they warn us that pixels are indicators of images formulated and generated for humans by machines - after all, machine learning and AI tools do not really need a generated image to scope for data?  

Resistance

As a painting The Wind Asks, Which Direction? act as a resistance. It does so by not relying on digital and cyber platforms for creation, exhibition and storage. Although not reliant on these platforms painting can still critique - and - from a distance, where there is room for perspective.

The Wind Asks, Which Direction? and Beware, Whispers the Wind are examples of my attempts to visually think through how militarised and militarise-able systems, platforms and devices occupy,  mediate and militarise landscape and extended environment. 

My Painting I Painted The Wind [bottom] was painted in 2001.

Cheers,

Kathryn

 Beware, Whispers the Wind  Oil on linen 61 x 97 cm 2019

I Painted the Wind Oil on linen 80 x 120 cm 2001

STAY ALERT: SAYS THE TREE

Stay Alert: Says the Tree Gouache on paper 56 x 76 cm 2019

For information on my forthcoming exhibition 

Occupied Landscapes: Evidence on Drones

please visit my post HERE

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Stay Alert: Says The Tree

I was thinking about a painting from 2017, Forever Watched  [below]. It is one of only a few paintings where I depict human figures. In the painting a group of people are encircled. But, are they performers encircled by a spotlight on a stage, or something more sinister? Or, maybe the stage is contemporary life, one where everything we all do is monitored, surveilled, watched. 

I was thinking about Forever Watched when I was painting Stay Alert: Says the Tree [above]. In this new painting I have replaced the people with a symbolic reference to humanity and life, the tree-of-life. Regular readers will know that the tree-of-life is often depicted in my paintings. The radiating lines indicate some kind of surveillance emanating from a single point, maybe an airborne drone, a satellite...? Maybe the single point indicates control, rather than a particular device.

The split surveillance could mean a few things, increasing persistence and dominance by surveillance systems, intrusion at global and intimate levels, dispersed targeting and more. The replacement of the human figures with the trees-of-life draws us all into the surveillance system as contributors and victims. 

The two trees-of-life, however, present us with some hopeful possibilities and some dire possibilities.It depends on your perspective.

I'll leave it to you to think about these possibilities. 

*Forever Watched and Stay Alert: Says the Tree will be in my forthcoming exhibition Occupied Landscapes: Evidence on Drones. 

 

Forever Watched Gouache on paper 56 x 76 cm 2017