Completed Painting: '[dc]Petrochemical Machine 01'

'[dc]Petrochemical Machine 01', Acrylics & Mixed-Media on Panel,
400 mm x 400 mm, 2026

Here’s the second of my recent Middle-East war-related paintings, ‘[dc]Petrochemical Machine 01’. Although slightly larger than its predecessor, it’s still pretty modest in scale and  also arrived relatively quickly as the news cycled. Iran’s Kharg Island reappears once again - in slightly more detail this time, meaning we’re still in the world of ‘Deleuzian Cartography’, as far as I’m concerned. Weapons-sight motifs also recur in this one, for obvious reasons.

Of course, the overriding theme here is the importance of oil and other petrochemical products to any discussion of conflict in the Middle-East (or of global politics, economics and trading relations in general, to be honest). None of that is exactly a secret. Whatever other twisted agendas may have sparked this grubby little punch-up (regional hegemony, apocalyptic religious mania, Israeli expansionism, nuclear paranoia, megalomaniacal hubris, macho over-compensation, mortality denial, feigned concern for the oppressed Iranian population - what else have you?) the real story rapidly became how any impediment to the flow of Middle-East oil, gas, fertiliser, etc. effectively equates to a global economic crisis. It’s perfectly consistent with the absurdism of our age that a state supposedly denuded of both military capability and regime leaders within a matter of hours, could subsequently hold the rest of the world hostage, possibly indefinitely, through simple facts of geography. If US threats to obliterate Kharg Island were an early feature of the conflict, it soon became apparent that whoever controls the Straits of Hormuz is the more urgent issue. Cartography, indeed - but I guess reading terrain and interpreting maps is really just the kind of treacherous behaviour one might expect from a devious enemy or nay-saying ‘experts’.

The whole idea of flows, rather than fixable or controllable territory seems key to the current situation, be that flows of liquid oil, flows of commerce and finance, flows of the sea through the Straits of Hormuz and the Persian Gulf, flows of information and propaganda, or, indeed, flows of energy/desire/becoming in a Deleuzian sense. Indeed, it may be that an appreciation of fluidity (or failure of same) as a quality, is a key differentiator between the assumptions of ‘The West’, and Middle-East Eastern/Persian/Arabian mind-sets.

In relation to this, it’s worth mentioning ‘Cyclonopedia’ [1.], a work of 'theory-fiction' by the Iranian writer and philosopher, Reza Negarestani. Whilst I don’t doubt Negarestani’s intellectual rigour or academic respectability, it’s fair to say that ‘Cyclonopedia’ is so arcane and convoluted a read as to become almost unintelligible, in large part, to the lay reader (or is that just to me?). Indeed, were he to admit that the whole thing is actually just a massive philosophical joke, I wouldn’t be at all surprised. However, it is also one of those baffling works by which the sensation of bafflement actually becomes a strangely pleasurable sensation. Though a complex concoction of global politics, geology, Middle-Eastern studies, oil trade mechanics, post-Deleuzian philosophy, esoteric/occult insights, hyperstitional invention, dollops of satire, and much else besides, Negarestani somehow hints at an alternative, distinctly metaphysical schema for interpreting the region’s pivotal significance in a world lubricated by oil flows.

I won’t attempt any more insightful analysis than that, other than to say that ‘Cyclonopedia’, does at least supply some kind of unofficial account of how we may have got here (yet again), when - let’s face it, none of the standard strategies can claim any greater credibility. If the desert terrain of the Arabian/Persian world might be seen as a cradle of the nomadic desiring engine (‘War Machine’) that Deleuze and Guattari outlined [2.], perhaps the idea of a ‘Petrochemical Machine’ is no more far-fetched a concept - as motivating impulses go. Certainly, it’s fair to say that this latest Middle East conflict only seems to reinforce the sense of oil addiction being the ultimate hit as well as the craving that kills. Ultimately, flows gonna flow - for better or worse.

Given all this, it seemed only fitting that my painting should include some physical component of an oily nature. This appears in the form of polyurethane varnish, tinted with black enamel, which continued to slide down the painting for about 36 hours, before coalescing into the slicks and runnels that now remain. Although I habitually employ a variety of media, the majority tend to be water based, or at least fast-drying. Using the varnish was a reminder that nothing else quite replicates the viscosity of oil-based media, or their slow oxidisation.

In addition to the cartographic, textual and oleaginous elements on show, I’d also draw attention to the apparently pixellated geometric field occupying the painting’s upper section. This is something that has recurred several times throughout my ‘Deleuzian Cartography’ work. I’ve come to think of it largely as a signifier of failing or corrupted memory - both metaphorically, and as it might appear on a screen. However, in the context of these war-related pieces, maybe such motifs could imply other forms of corruption too. Whether that’s the corruption of moral integrity, of international law, of political credibility, of democracy - or purely of the venal kind (such as allows real estate deals to be struck on the side of supposed conflict resolution talks), I’ll leave for you to decide...

[1.]:  Reza Negarestani, 'Cyclonopedia', Melbourne, Aus, re.press, 2008

[2.]:  Particularly in: Gilles Deleuze & Félix Guattari, 'A Thousand Plateaus, Capitalism and Schizophrenia', (Trans. Brian Massumi), London, Bloomsbury, 1987/2001.

 

'[dc]War Machine 01', Acrylics, Paper Collage & Mixed Media on Panel,
300 mm x 300 mm, 2026

Having spent a relatively long period of time methodically developing my ‘[dc]circuit’ suite of paintings, it felt necessary to throw-out something new rather more spontaneously as spring arrived  - and perhaps, something with a few fewer layers of obscure ‘meaning’. As it transpired, Trumpo the Clown and his handler, Bibi, chose to embark on their absurdist attack on the theocratic dystopia of Iran around the same time (what could possibly go wrong?). Consequently, this little panel emerged fairly rapidly as a straightforward reaction to news events. It should require relatively little explanation, I suspect.

Despite its topicality, this piece still finds a place under the general banner of ‘Deleuzian Cartography’. The cartographic element here represents Kharg Island - Iran’s major oil terminal facility, and one of immense geo-political, economic and strategic significance. The weaponry sight motif is an obvious choice, although there is perhaps a small degree of semantic/semiotic nuance to be garnered from the overlaying of a sight, over a site, and the implications one may have for the other. The whole notion of de/territoralisation is clearly at the forefront of any war scenario in crude geographic terms. Sadly, the infantile hyperbole of ‘obliteration’ or ‘decimation’ casually thrown around by the psychos prosecuting this conflict indicates that they’re unlikely to ever get much further than simply grabbing land/assets, massacring school children and blowing stuff up. Deleuze and Guattari’s concept of constructive deterritorialisation is far more sophisticated and nuanced than they could ever hope to understand, and any hopes for a constructive paradigm shift must remain dim, at best.

Similarly, the idea of a ‘War Machine’ is equally clichéd at first glance. However, D&G’s concept of the same is somewhat less familiar - being concerned with the nomadic imperative to be in constant progress towards renewal and innovation. For them it is the engine that drives their desired-for state of perpetual ‘becoming’. The Machine/impulse only becomes about war per se, once it is captured and formalised by the a state in order to further its own ends - be they driven by apocalyptic faith, psychopathic narcissism, all-consuming  greed, or even just the megalomaniacal need to bolster a political base. Thus is it shifted from a vital force, to one with only catastrophic effects.

Inevitably, one thing leads to another, and so there are already a couple more of these war-related pieces also completed. However, as I type this, some kind of supposed ‘deal’ to end the conflict is being touted in the news media, so perhaps there will no real need to produce any more (at least in the interests of topicality). I guess we’ll see…

Completed Suite of Paintings: '[dc]circuit_'

 

This & Following Three Images: '[dc]circuit Suite, Mock-Up A'.
1:10 Scale Model, MDF, Card & Paper, 2026

This marks the culmination of my ‘[dc]circuit’ suite of paintings, as featured in a series of recent posts. As I have already mentioned several times, it was always my intention to produce these five closely-related panels as a composite whole, to be hung together, should the situation ever arise. Although they were all completed some months ago, the problem of exactly what that configuration should be remained, not least because the varying formats and dimensions suggested something other than a simple straight-line arrangement. Without a convenient wall of sufficient scale to physically experiment (even were one to commit to the process of repeatedly fixing/making good), a scale model was the obvious tool to employ - the results of which you can see here.

 

As is so often the case (for me, at least), this turned into a slightly over-engineered mini-project in its own right. However, the process proved fruitful, providing more than one possible configuration for potential use in the future. Mocking it all up at 1:10 scale gave just enough space for a camera to effectively share the potential viewer’s point of view, and to give the impression of occupying the same physical space as the paintings themselves. This often feels like the hardest thing to envisage when approaching any display or exhibition situation (physical ‘presence’ feels increasingly fundamental, in my view), and anything one can do to answer the attendant spatial conundrums feels like time and effort well spent. That’s not to say that further fine-tuning would never occur on any given hang, but starting out with a reasonably confident plan to work out from will usually save a lot of floundering around, particularly where practicalities deviate from the ideal (as is usual).

At the moment, I feel like my second attempt ('Mock-Up B') is my favoured solution here, although any of these configurations would probably work pretty well. I’m sure I could play around a lot more (and I probably will, in idle moments), but for now, it’s pleasing to know that the five panels should work well enough together with some degree of flexibility, and that all the hours that went into their production weren’t totally wasted. Let’s face it, getting one painting to function is hard enough - juggling multiples is something else again. Do I think everything is 100% successful? - well, nothing really ever is, obviously. Do I feel sufficiently content to stand by them, both as individual elements, and as a composite group? - yes, I think I do.

This & Following Five Images, '[dc]circuit Suite, Mock-Up B', 1:10 Scale Model,
MDF, Foamboard, Card & Paper, 2026

So, it just remains to give a final overview of the supposedly alchemical chromatic scheme that functions across the five panels. As discussed before, the idea of a clumsy search for auto-didactical enlightenment is signalled by both the references to specific authors/philosophers and the depiction of lighting circuits included in each of the panels. This led, tangentially, via some coincidental reading [1.], to an association with the whole idea of alchemical tradition, being both a (misguided) experimental attempt to transfer base metals into more precious alternatives, and a parallel (possibly equally misguided?) search for knowledge, wisdom, or even spiritual elevation, through a corresponding series of defined stages. Depending on which sources/traditions one refers to, the number and exact significance of such stages may vary widely. However, it is generally the case that any particular stage in a move towards ‘enlightenment’ can be mapped onto a possible chemical reaction/process, and by extension - an identifying colour (be it symbolic or physical). This felt like an appropriate serendipitous scheme to hang my suite of paintings on - a handy, ready-made solution, if you like. The rational for it is as follows…

This & Following Four Images: '[dc]circuit Suite: Mock-Up C', 1:10 scale Model,
MDF, Foamboard, Card & Paper, 2026

‘[dc]circuit 01/Sartre’:

Black [‘Nigrido’]: Black seems a fitting enough identifier for Jean-Paul Sartre, the most famous of the Twentieth Century Existential philosophers - and one which might signify both the despair often attributed to his world view, and the void that he and others of an existential bent are assumed to be routinely staring into. In alchemical terms, black (carbonisation) represents both the breaking down of source materials through combustion, and the dissolution of the self/ego complex through psychosis, prior to a more enlightened process of reconstruction. In ‘Nausea’ [2.], Sartre describes his protagonist’s traumatised acceptance of the meaningless of existence, and subsequent embrace of a creative path of self-actualisation (as a fiction-writer) as the only possible way forward. 

‘[dc]circuit 02/Borges’:

White-Grey [‘Abledo’]/Blue-Green [‘Prismatic’]: The dedicatee here is Jorge Luis Borges -  surely a prime figure in Twentieth Century philosophical fiction writing. I now wonder if I missed an opportunity to include a little silver here, given Borge’s Argentinian heritage, although this one really comes too early in the alchemical process to actually produce any precious metals. Alchemically, the white phase can be seen as signifying purification or absolution, as the physical/spiritual residue of the primary stage are washed away. My panel turned out more grey than white, but this feels acceptable enough, as accents of white gradually emerge - as if from a mess of ashes. For many alchemists, a fleeting but ultimately deceptive prismatic blue-green phase - often called ‘The Peacock’s Tail’, may also manifest at this stage (as in my circuit). This signifies a seductive, false impression of success, with ‘chasing the peacock’s tail’ meaning essentially to mistake the map for the terrain. The labyrinths in which one might thus become lost are a prime Borgesian motif, and the direct overlaying of an actual-sized map onto the actual landscape forms one of his most astounding images in ‘On Exactitude in Science’ [3.].

‘[dc]circuit 03/Proust’: 

Yellow [‘Citrinitas’]: For a spiritual/philosophical alchemist, the yellow (sulphurous) phase may represent a movement, from a lunar/silver/reflective consciousness, towards a solar/golden/affective mode. It can be seen as a first step preceding true self-actualisation. Accordingly, we can see Marcel Proust’s multi-volume opus, ‘A la Recherche du Temps Perdu’ [4.], as one man’s attempt to reclaim too many early years wasted in vain pursuit of society’s superficialities, via an extensive creative act of memory-based psychic reprocessing. As with Sartre, fiction-writing is the chosen method employed. Certainly, he claimed to have succeeded in reframing his life to his own satisfaction as a result. When I close my eyes, I often see Proust’s sensuously remembered world as bathed in yellow light. It’s probably just a fond imagining of all those lost, shimmering French summers, or perhaps an impression of the beach at Balbec. 

‘[dc]circuit 04/Deleuze’:

Red-Purple [‘Rubredo’]: As it is dedicated to Gilles Deleuze - the philosophical figure presiding most powerfully over all of this work, it seems only fitting that the fourth panel should reflect the colours of the alchemists' fabled ‘Philosopher’s Stone’. For the more financially-driven practitioner, this fugitive, magical substance is the catalyst necessary for the final production of material gold. For those dedicated to a less worldly path, it may actually be the more valuable substance - being magically able to unlock whole new dimensions of philosophical understanding or spiritual enlightenment, beyond mere riches. Key to this is the idea of a cyclical process of ever-becoming, with enlightenment being essentially ineffable - even as it is perpetually unfolding. Clearly, that all sounds pretty ‘woo-woo’, until one remembers that Deleuze, and his collaborator, Félix Guattari, regarded the philosophical framework they laid-out in ‘Anti-Oedipus’ [5.] and ‘A Thousand Plateaus’ [6.] as being, above all, rooted in practical action in the material world. For them, a state of perpetual becoming was key to the potential avoidance of ossified or destructive influences in the world, and a state of being to be most fervently wished for (not least for anyone engaged in self-identifying creative endeavour, or in opposition to any perceived descent towards the Fascist imperative).

‘[dc]circuit 05/Kafka’:

Gold: In alchemical terms, gold is, of course, the impossible goal [7.], and as such - the single most potent signifier of venality, hubris and pre-scientific misunderstanding - all rolled into one lump of shiny shit (now, who does that make us think of on the present-day world stage, I wonder?) As mentioned in my previous post, it also suggests my own personal literary ‘gold-standard’ - namely, Franz Kafka. Kafka is, of course, the pre-eminent author of absurd futility, repeatedly outlining a terrifying world seemingly dedicated to the frustration of any attempt at human happiness or coherent understanding. Does this ultimately refute the whole idea of an over-arching yearning for enlightenment? Well, yes - I guess, until one remembers Sartre’s insistence that all we can do is construct our own personal narratives of ‘meaning’ - not in order to ultimately explain or understand existence, but simply so that we might endure its fundamental indifference. Perhaps that’s where the only true wisdom lies: it certainly feels like what most artists are attempting.

[1.]:  Peter Demetz, ‘Prague in Black and Gold’, London/NYC, Penguin, 1997

[2.]:  Jean-Paul Sartre, 'Nausea', (Trans. Robert Baldick), London/NYC, Penguin, 1963 (1938).

[3.]:  Jorge Luis Borges, 'On Exactitude in Science', in 'The Aleph' (Trans. Andrew Hurley, London/NYC, Penguin, 2000

[4.]:  Marcel Proust, 'In Search of Lost Time' (In Seven Volumes), London/NYC, Penguin, 1913-27/2003

[5.]:  Gilles Deleuze & Felix Guattari, 'Anti-Oedipus, Capitalism and Schizophrenia' (Trans. Robert Hurley, Mark Seem & Helen R. Lane), London, Bloomsbury, 1972/2021.

[6.]:  Gilles Deleuze & Felix Guattari, 'A Thousand Plateaus', Capitalism and Schizophrenia', (Trans. Brian Massumi), London, Bloomsbury, 1987/2001.

[7.]:  Amazingly, even as I was working on the ‘[dc]circuit’ suite, reports emerged from the Large Hadron Collider facility at CERN of the apparent, creation of infinitesimally small and fleeting traces of various elemental metal particals, including gold - as a by-product of certain particle-colliding experiments. Could it be that the old alchemists intuited something 'real' after all - and that they were simply waiting for the science and technological infrastructure to catch up?

[Composed using only organic intelligence.]