In previous work the investigation of codes and language and their applications and mechanics have been recurrent themes within my work. In the paintings I explored the visual similarites of these codes, however different their application: DNA, Braille, Jaquard loom cards, Pianola rolls and the resonance that they possess when their readability is in doubt. Each code or language a way of depicting or describing the world, all reliant on a cypher, a machine or an introduction in how they are to be read, before they will reveal their full meaning. As such the work moves around in an abstract language of points and tramas, which can be simultaneously read as mere pattern or as encoded figuration.
“parasystoles lost in phase space” comes from this interest in codes but specifically the use of sequencing from hotel security systems to chaos theory. In “parasystoles lost in phase space” two humble hotel keycards, punched with a unique sequence of holes, form the starting point. A humble proposal, to enlarge these punchard formations, beyond their original scale and purpose, to let them loose, to mutate, beyond the confines of the drawing board. The merry dance formed by their endless repetition and the irregular but seemingly mathematical rhythms that they form, takes a wink and yet sympathises with all those irregular and bumpy forms that Benoît Mandelbrot claimed in The Fractal Geometry of Nature (1977) could henceforth be approached “in a rigorous and vigorous quantitive fashion”. Yet just as when I was a small child in dot to dot books, I never wanted to join those dots following their numerical order, here the dots are joined not to reveal any specific form but to take you on a journey through phase space.