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Medusa
oil on canvas 180 x 150 cms 2017
These works originate in a procedural environment in which physics parallel those of the material world and physical structures are reduced to minimal generic forms. A continuous stream of live moments is generated. Each appears briefly, then passes into an accumulating archive where memory is overwritten, fragmented, and gradually lost. Some moments hold. The painting fixes such moments into material form. While the live stream and archive exist in time, painting exists outside it: not as narrative, but as a held condition within an open-ended process.
A distinct post-digital extension is emerging, one that builds on the trajectories opened by Richter, Polke and Tuymans while shifting their concerns into the domain of simulation systems. Where Richter treated the photograph as a regulating device, and Polke exposed the instability of the image through chemical volatility, this approach begins inside procedural environments rather than captured reality.
Images arise from simulation systems that move, reconfigure, and generate their own internal reactions. The resulting paintings function not as representations but as residues: physical translations of forces enacted within a Unity-like engine, where bodies fragment, space buckles, and structure mutates under algorithmic pressure.
In this context, the cool optical distance associated with Tuymans and the corrosive instability associated with Polke are both reconfigured. The image is no longer a memory, an event, or an observation; it is the discarded by-product of an ongoing system. What appears on the canvas is a fossilised record of procedural processes rather than aesthetic interpretation.
This marks the emergence of a post-simulation realism in which painting operates as the material residue of system-driven behaviour, not as the representation of an external world.
