'The Annihilation of Time and Space': HNY 2024/25

All Images: Lincoln East Bypass, December 2024

In what is becoming something of a seasonal tradition, I found myself up on the Lincoln East Bypass, with bike and camera, on Boxing Day. Certainly, this indicates that, like so many of my creative endeavours, my 'The Annihilation of Time and Space' project has been 'ongoing' for much longer than originally envisaged. However, it also means that the scope of the project has expanded to encompass this slice of edgeland in a range of different conditions and moods.

Last year, the landscape was bathed in crystalline winter sunlight, but this time the conditions couldn't have been more different. The entire region was sunk in dank fog and, even in the early afternoon, light was fading fast. The defining characteristics shifted from deliciously blank to poetically bleak.

Given the state of world events, and the trepidation any of us might feel regarding the coming year, perhaps these conditions were glumly appropriate. As the somewhat reduced procession of vehicles beat on into the gloom, it was impossible to avoid the inevitable impressions of a lost civilisation careering headlong into an obscure and forbidding future.

Whatever the truth of that, we can only hope there are still some brighter days to come, whatever the general trend, and to seek the reasons to be creatively cheerful wherever they may be found. The conditions may have made my cycling a little arduous, but they also prompted me to see a familiar environment in fascinating new ways - and to capture some images with a darker romance not previously attached to this particular project. There's usually some uplift to be found if we remain open to the possibility, and - as Albert Camus pointed out, we should still find the time and energy to dance, even on the edge of the abyss.

Happy New Year.

Season's Greetings 2024

All Images: Centenary Square, Birmingham, November 2024

The City offered-up an unironic cascade of festive light and colour this year - or so I thought. Unfortunately, grim reality imposed itself between these shots being taken and their current moment of publication. One of these fairground rides, erected for the festive season, in Birmingham's Centenary Square, partially collapsed a few days ago - causing numerous injuries. Thankfully, there were no fatalities, and reports suggest none of the injuries were actually life-changing.

Immediately prior to these shots being taken, my friend Andrew Smith and I had been gazing at the scene over coffee and idly speculating whether we'd ever have summoned the courage to seek such thrills. Our joint conclusion was, not - preferring to participate in the spectacle as mere spectators. How little we really know...

Anyway, in the interests of pursuing innocent pleasures/lines of flight wherever they seem available, I'll offer condolences and wish a speedy recovery to anyone adversely affected in the process, and Season's Greetings to everyone else.

Merry Christmas

Completed Painting: 'Deleuzian Cartography 3'

'Deleuzian Cartography 3', Paper Collage & Mixed Media on Panel,
300 mm x 300 mm, 2024

This is the third of this year's small ‘Deleuzian Cartography’ panels. It came into being in parallel with ‘DC2’ and I suppose they share a certain aesthetic - in colour range, if nothing else. The fragmented street maps and circuit diagrams are still there, although much of that content is even further subsumed into an ‘all-over’ composition this time.

For much of the piece’s development, I figured that might be the whole story, and that this one was going to represent a variety of urban hum approaching near blankness, rather than the more strident energy flows of the streets. Somehow though, this just wasn’t quite enough and a recognisable portion of Leicester’s inner gyratory system rose to the surface very late in the day. The final gesture of reaching for a pot of varnish and looping it off the handle of a brush occurred in wholly intuitive manner (late at night, and probably half asleep). It is often the case that such release creates the most fortuitous results, and in this time the drips appear to continue the ring road’s circuit organically through sheer chance. I couldn’t have made that happen if I’d tried.

Without delving to dee eply into any of the complex, abstruse philosophical concepts which may (or may not) inform this body of work, the tension between formally established territory and more intuitive flows of urban life continue to feel like a key theme. Indeed, this may just represent another interpretation of the official/unofficial interface that’s been there in my work for many years (signage vs graffiti, crisp edges vs random mark-making, social democracy vs uninformed reactionary politics, etc.).

Another point worth noting is the suggestion of some pixellated, glitch-type artefact at bottom left of this image. There was actually more of this in ‘DC1’, and it does feel like another category of motif that may continue to recur in this body of work. For now, let’s simply regard it as a hint towards the digital lens through which we often chart the terrain. I’ll leave it at that for now, but the potential of Google Maps/Earth, OpenStreetMap, etc. to further mediate our understanding of geography is definitely folded into these pieces, and something to discuss at greater length another time