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Preliminary drawings using marker pens to consider alternative compositions. Characters sitting, standing on objects, characters sharing the same speech bubble, a single character creating a monologue speech bubble, a character speaking into three distinct speech bubbles, three characters standing on a line, speaking and the inclusion of the overarching brand name; The Sermon Show, as a banner. I'm considering producing pieces based on all of these individual ideas, however the strongest idea is potentially the use of objects from which each speaking character sits/stands to project their words.  Three pieces of dialogue, a single dialogue (multiple strands) and sharing dialogue are all new concepts that should be further explored. I'm finding preliminary drawings strangely helpful and not at all conclusive, in terms of limiting the next step of completing a large scale acrylic piece. Instead, these initial offshoots of ideas and start points only determine the initial idea, composition and potential concept. As I have found through experience, the final, acrylic piece always develops whilst being constructed and is not in any way tethered to or restricted by the initial marker pen drawing. Marker pen drawings are produced in between moments of time, when at work or simply when there is a gap between events or commitments. Small, A5 compositions allow the nucleus of an idea to evolve.

Digital (vector) drawings serve a purpose and are pleasing to construct. These seemingly complete and 'finished' pieces have also performed the role of preliminary (pre-cursors) to the acrylic pieces. Flat, vibrant colours are instantly applied, whilst text has been both 'mouse' drawn and appropriated from existing fonts, available in the application (Adobe Illustrator) 

These are two of the initial pieces, created before any commitment or investment in the painting (acrylic) process started. Always perceived as idea drawings, however still published as complete pieces, behaving independently from prototype sketches and not as accomplished in status as the final A2 paintings. 

Four completed paintings, in chronological order, from left to right. The first piece was directly inspired by my son's imaginative engagement with his Alexa device. Every evening, before the bed time routine begins, well actually, as part of the bed time routine, he will set a timer for brushing teeth. And every evening he will create a new and ingenious title for the Alexa timer. On this occasion, I made a note, thinking this would become a painting, in the future. The placement of the characters are in the same compositional space, in each of the four pieces. The blue avatars in the first piece also appear to be floating, within the wall space as defined by red paint lines. I'm particularly pleased with the floor, in this piece as it starts to evidence a certain energy and controlled chaotic brush marks that develop across these four paintings.  The second piece, from the left combines two distinctly different statements from Sermon Notes and the life style TV series, 'A Place in the Sun.' The two figures face each other, as if engaging in conversation, however this is clearly not a conventional conversation as there is no obvious question and or reply. Instead the figures are making statements that could potentially be part of the same dialogical frame, however they seem to miss each other and exist in their own monological space. The simplistic background consisting of a singe line works well as does the figure on the left side. The red hat and red object on the floor just to the right of the first figure (far left) also works effectively. The object creates an additional layer of meaning (or potential meaning0 whilst the red hat could suggest a type of uniform?  The SERMON SHOW banner appears first in this painting as a significant object and backdrop. I particularly like how the word 'show' is painted and I've considered replicating this within Adobe Illustrator as a vector image and potential brand (logo) design. Now this dialogue is more of an example of a conversation between characters as opposed to distinct statements. I am interested in the juxtaposition between text and how new meanings could emerge from differing statements. Statements that are appropriated and repositioned for contemporary art purposes. 

This felt like an opportunity to explore a new linear composition informed by Giotto's landscapes, environments and spaces. These biblically themed 14th century paintings have an embedded vibrancy through both colour and formation of shapes that inspires further inquiry. Each painting beautifully choregraphed to reveal significant moments in Christ's life. Through appropriating the basic linear structures that ground the works, it feels like tapping into a supernatural aesthetic that, when incorporated into contemporary works will reveal something of the divine (or hidden, unseen divine).  Giotto di Bondone - c. 1267 – January 8, 1337), known mononymously as Giotto, was an Italian painter and architect from Florence during the Late Middle Ages. He worked during the Gothic and Proto-Renaissance period.

A collection of secondary images of speech bubbles that could inform future paintings / art works. Since researching these images the speech bubble motif has already changed in the most recent painting. I specifically reviewed graphic symbols, as opposed to painterly versions of this image. Reworking the iconic speech bubble cloud appears to be effective, whilst maintaining a painterly (visible brush mark approach). The compositional placement of these graphic web based images has also proved fruitful, in terms of potential painting structures. 

Title: WORK/FAITH - LABOUR/LOVE Date: January 2025 Medium: Acrylic on paper Size: A2 This is the most recent piece, responding to an initial marker pen drawing that explores an interior context. There is a stage, lectern and chair. The lectern is on the stag and the chair is in the main space. Two differing speech bubbles are used whilst the figure is painted with the same colour and brush. The text is taken from a sermon at Chawn Hill Church in January 2025 and the notes written are as follows:  Work produced by Faith Labour promoted by Love Endurance inspired by Hope Bible Source: We continually remember before our God and Father your work produced by faith, your labor prompted by love and your endurance inspired by hope in our Lord Jesus Christ. 1 Thessalonians 1:3 Paul also mentions these three qualities. “Now these three remain: faith, hope and love” (1 Corinthians 13:13). (web source) The two figures (characters) are fleshy, non-proportional and clearly non-representational, however they still suggest a human presence. Again, there are two dialogical contributions within the context of the painting, where two distinct, yet similar statements are made. This, therefore is not a conversation, it is not an exchange of ideas, where one responds to the other, after contemplating what was spoken and then, contributing to the debate, discussion or dialogue. There is a hierarchy, where one character occupies the stage (seen as a higher level environment) where a leader would project to an audience, and the other, seated (not standing) and consuming what is being said. In hindsight, perhaps I should have used thought bubbles instead of speech bubbles, for one of the characters?  One character speaking, the other thoughtfully considering (contemplating) what was said with there own, hidden response...Thought 'Bubbles', as evidenced below could be used for one or both characters, creating a new dynamic between them. 

This piece explores a potential series of works where text is extracted from Psalm 34 (occupying the speech bubble) and words taken from my developing glossary (developing specialist vocabulary) as though bubble. There is a dynamic and dialogue at play here that I find quite interesting. The simultaneous act of speaking and thinking - or at least the almost simultaneous act is being explored here. The SERMON SHOW banner has reappeared again, which adds an additional layer, especially as the 'creature' 'character' 'monster' is holding the banner. 

Starting to contemplate developing more of a figurative response to the 'character' form, within the paintings. Self portrait, responding to secondary images as illustrated below? Transformers, Garbage Pail Kids, and other references. Funny feet ice creams, fraggles and other 80's 90's references. Starting with self portraits and abstracted bodies and then considering the next steps. I could start to respond to characters from Churches, where websites present leadership teams and supporting staff? I could also look at business websites where all staff are pictured, including these painterly interpretations in to the work, where each character is either speaking or thinking. 

An example of images readily available on the web, from which I could base characters. 

NEW VIDEO / PERFORMANCE / MOTION GRAPHIC WORKS:  This piece started as an exploration into a frequently changing image appropriated from ESTATE AGENTS websites, where screenshots from the same HOUSE for sale would be used as an image layer over blender shapes. The floor, built in Blender was used within all of the motion pieces, where as the shape (building like structure) was covered with different screenshots from the selected house. The Blender 'house' shape was manipulated each time a new image was applied. This was the start point for the piece, and the slide-show of screenshots, used previously was applied as a type of back-ground. Associations from this imagery are clear and easily achieved at, from suburbia, to domesticity, to 'ideal homes,' to a sense of place, context and identity. The next step was to explore screenshots from a YOUTUBE video, as seen below. I was looking for visuals from local church services and this celebration seemed the perfect fit. Clearly filmed in the early to mid 80's, there were multiple shots to 'grab' from and the whole colour palette and aesthetic appealed to me, as material that would work within this piece. Originally I had all of the screenshots below working as a slide show, however, due to logistics in terms of fitting the images within the frame of the video, I decided to select just one screenshot. This focus and consistency of image, again, felt right, as the viewer had the central part of the video that was unchanging and provided a type of grounding for the viewer.  It was important, for this piece that I utilised all 18 Sermon Notes, using after effects and a typewriter effect to generate the text visuals. Positioning the text was relatively straight forward and the use of white just seemed to work instantly, as I was not concerned about all the text being entirely legible, all of the time. The final part was the performance, that continues throughout the video, on the right side. This performative piece was initially conceived as a direct response to the Blender motion graphics, where I would interpret the movement through sounds and bodily gestures. I recorded the Blender piece separately and took this into the performance studio, using it as a guide for the action. The performance, quickly became a completely different series of actions, simply based on generating gestures and sounds simultaneously. I had considered these gestures as 'worshipful' or a type of speaking in tongues 'glossolalia,' however, this idea also faded relatively quickly, as I was in a rhythm and almost 'dancing.' This recorded performance became material that would 'fit' on the end of the video piece, adding a sense of the bizarre, the unknown and the ridiculous.  The final piece combines four key elements, pre-recorded performance, still images, Blender animation and appropriated image slide show. There is always a hope, that the juxtaposition of disparate yet oddly connected images + text, provoke or stimulate new dialogues (converging conversations) that simply did not exist beforehand. Does the work have any power? Does the work resonate with a diverse audience? Can the work function in a contemporary gallery context? Have the objectives been achieved (what objectives?) Why do I continue to 'push' the religious themes? Can 'my' work have any form of impact outside of a literal inclusion of SERMON NOTES, or religious themes, methodologies and or motifs (symbols)? Can not God work beyond the structure and theology of scripture (and scripture re-examined - sermon notes). This is actually a good point...the term 'examined' or 're-examined' because this is simply not taking place, at least from my position...as the art work simply becomes whole, as I generate images, text, audio and marks. I am examining nothing, but proposing images to be examined...So I do not have to 'do the hard work' of interpretation, contemplation and building a concept, rationale or meanings as I am the deliverer of the work, and the work could mean something new / different for everyone that views it? I'm not writing a lecture, an academic piece of text or delivering an illustration of a theory (or theology) I'm simply mixing 'random' ingredients together, hoping (and praying) that the final dish will be edible...or even tasty! I'm in an endless loop of creative potential, endlessly reaching for the next start point, again, hoping that it will speak volumes and challenge audiences...and or simply be received by audiences as 'something to consider.' Maybe this is enough...the fact that I'm continually trying, continually testing ideas and continually moving (in a direction) - not necessarily forward...

SCREENSHOTS FROM ABOVE PROJECT:

Additional Screenshots for Didactic Delight piece:

New Work Idea - Performing AI scripts (As contemporary art) Performed against a green screen? 

Studio provision at College. This is a space that I can use and will explore developing new work.  Asking Chat GPT to create a short script to be performed as contemporary art. And Scene! Multiple Cameras / Maybe Three...each recording (capturing) a different position, side and dynamic from the script reading.  FALLING WITH PURPOSE / FALLING LESSON SCRIPT Utilising the college photo studio, I intend to print of a script and perform each character. Holding the script, moving around a little within the frame of the camera (s). Should I say (And Scene) as the performance concludes? I could always speak to my acting teacher colleagues and gain their thoughts. This is an AI generated script...There is no reason why I could not create my own short script...HI - human intelligence. I'm interested in performing the role of 'performing' as contemporary art (video art). The ai element is also an added factor that could suggest collaboration or engagement outside of the normal spheres. There is something interesting in terms of a tension or 'dialogue' between the parameters typed into CHAT GPT and the created (AI) content. The machine learning part of the application is also something to consider.  Work in Progress: March 2025 / Reading a CHAT-GPT generated script. Playing all characters. Interested in appropriation from artificial intelligence / collaboration with and through Ai. Acting - speaking out - monologue - audition - performing without distraction of a set / scene or digital background. Utilising work spaces to create art. Smart Casual - not acting, simply reading a script - or performing a monologue - without becoming the characters - I am the characters...The simplistic backdrop and plain aesthetic is good. Considering repeating the action and improvising a script instead of reading from one? Considering the spaces between, the pauses, the silences, the moments of listening not doing or speaking or performing...Considering a FOUR screen image, where only one character is performing at one time, whilst the other screens are frozen, paused. First used within the triptych pieces - hold frame or still frame within Premiere - the paused images could simply be screenshots...The next iteration of this work will be to perform without a predetermined script and to improvise, whilst using a green screen as a backdrop. Feedback from a colleague suggested that this piece was engaging and the person watched all three 'scenes.' This was 'something different to the normal constant image scrolling' that social media normally exhibits. One question to consider here might be, is this in any way constituting acting?  Notes from: THE ART OF PERFORMANCE / A CRITICAL ANTHOLOGY, edited by Gregory Battock and Robert Nickas. Start to consider scripting each performance, at least with a context, theme, subject and initial discussion point to then build on. Title each subsequent piece with the discussion theme or characters names. Consider exploring a type of Audition moment, where the 'actor' has been asked to portray a specific event, emotion, interaction and or situation. CHAT-GPT: - using these start points to create a new scenario from which to build and develop dialogue...impromptu / intuitive  🎭 Drama "Night Bus Confession" A tired commuter strikes up a vulnerable conversation with a stranger on the night bus after witnessing something traumatic earlier that day. "Estate Tension" A young woman confronts her neighbour about noise complaints and is shocked to uncover a deeper domestic issue. "Missing Brother" A man pleads for help at a police station, convinced his younger brother is missing and being ignored because of their background. "The Flatmate Revelation" Two friends living together in East London argue after one reveals they’re moving out due to a secret romantic relationship. "Family Solicitor's Office" A sibling discovers their estranged father left the estate to someone else and lashes out during the reading of the will. 💼 Workplace / Social Realism "Coffee Shop Breakdown" A barista gets fired in front of a queue of customers and finally voices all their bottled-up frustrations with management. "Start-Up Clash" At a trendy Shoreditch co-working space, a founder accuses their business partner of stealing an idea right before pitching to investors. "NHS Nurse on the Edge" After a 14-hour shift, a nurse lashes out at a colleague who questions their commitment. "Tube Strike Rant" An office worker gives a passionate, funny, and emotional monologue to a fellow commuter during a stalled tube journey. "Art Gallery Real Talk" At a gallery opening, a struggling artist confronts a critic who previously slammed their work, challenging the elitism of the art world. ❤️ Romantic / Emotional "Pub Breakup" A long-term couple sits in a crowded London pub and quietly ends their relationship over pints. "Drunk Voicemail" A heartbroken character leaves a series of increasingly unhinged voicemails to their ex after seeing them with someone new. "Morning After" Two strangers wake up in a tiny Hackney flat and realise they may actually like each other more than they expected. "Love on the South Bank" A tourist and a local Londoner argue about whether their whirlwind romance can survive the realities of distance. "Speed Dating Disaster" A character finally explodes after enduring five terrible dates in one evening and tells off the event host. 🕵️ Thriller / Crime "Wrong Identity" A character is detained by plainclothes police who think they’re someone else—tension builds as they fight to prove their innocence. "Hackney Rooftop Deal" A small-time dealer realises they’re in over their head when a buyer turns out to be an undercover cop. "The Informant" An immigrant worker must decide whether to betray their employer by becoming a whistleblower. "Underground Meeting" Two activists argue in a dark alley about whether their next move crosses the line into terrorism. "CCTV Footage" A security guard is interrogated about doctored CCTV footage that could exonerate or implicate them. CHAT GPT: - repeating these LINES - altering tone, emotional investment, intention and style...exploring new forms of communication...as if auditioning for a new play. Here are 10 emotionally rich dialogue prompts that could be used during auditions for a new stage play—perfect for testing range, authenticity, and presence in a live performance setting. These cover a mix of intense, subtle, and layered emotions: 1. "I Did Everything Right" Emotion: Frustration / Heartbreak / Desperation “I followed every rule. I played nice, I smiled when I wanted to scream. And still… here I am. Empty-handed. Explain that to me.” 2. "You're Not Listening" Emotion: Anger / Vulnerability “No, you’re not hearing me! You say you care, but every time I need you, you vanish. Every. Time. What am I supposed to do with that?” 3. "This Wasn't the Plan" Emotion: Shock / Sadness / Regret “We had a plan. We said five years, save up, move out of the city, start over. I believed you. I believed in you. Was that just me?” 4. "Just Say It" Emotion: Tension / Denial / Anticipation “If you’re going to leave, just say it. Don’t draw it out with pity looks and half-truths. Rip the plaster off.” 5. "The Chair is Empty" Emotion: Grief / Memory / Longing “Every morning, that chair creaks like it used to when she sat in it. And for a second, I forget she’s gone. Just one second. That’s all I get.” 6. "I'm Not Like You" Emotion: Defiance / Shame / Identity “Stop comparing me to you. I’m not cold, I’m not calculated, I feel everything. Maybe that’s weak to you, but it’s real to me.” 7. "You Promised" Emotion: Betrayal / Sadness / Confusion “You said you wouldn’t go back. You looked me in the eye and swore it. Was that a lie, or did you just not care enough to mean it?” 8. "This is Home" Emotion: Pride / Protection / Fear “You look at this place and see dust and broken windows. I see the only place I’ve ever felt safe. You don’t just walk away from that.” 9. "Why Not Me?" Emotion: Insecurity / Pain / Longing “You say I’m your best friend. Your person. So why not me? Why do you always choose someone else when I’m right here, waiting?” 10. "Let Me Go" Emotion: Liberation / Conflict / Heartache “I know you love me. But I can’t breathe in this. I need to find out who I am without being half of us. Please… let me go.” CONTEXTUAL: filmic narratives Here are several contemporary artists who explore acting, filmic narratives, scripts, and filmmaking in their art installations. Many of them blur the boundaries between visual art, cinema, and performance: 🎥 1. Ryan Trecartin Practice: Wild, hyper-edited videos often presented in immersive installations. Themes: Identity, media culture, performativity. Notable works: I-Be Area, Center Jenny. Style: Uses scripted chaos and casted friends who “act” in exaggerated, surreal scenes. 🎭 2. Gillian Wearing Practice: Uses real people, actors, and scripts to reconstruct personal and social narratives. Themes: Confession, identity, performance of self. Notable works: Confess All On Video, Trauma. Style: Often uses documentary formats but staged and directed like film. 🎬 3. Isaac Julien Practice: Multi-screen film installations combining narrative, dance, and archival footage. Themes: Post-colonialism, migration, identity, and sexuality. Notable works: Looking for Langston, Ten Thousand Waves. Style: Visually rich and cinematic, with theatrical sound design and choreographed movement. 📝 4. Omer Fast Practice: Narrative video art blurring truth and fiction. Themes: Memory, trauma, media manipulation. Notable works: The Casting, Continuity. Style: Uses actors to re-perform interviews and blur documentary with staged drama. 🎤 5. Candice Breitz Practice: Video installations using actors, celebrities, or ordinary people performing scripts. Themes: Media, identity, fandom, empathy. Notable works: Mother + Father, Love Story (with Julianne Moore and Alec Baldwin). Style: Mimics Hollywood-style setups to critique narrative and performance. 🎥 6. Steve McQueen Practice: Artist-turned-filmmaker; earlier works are gallery-based, combining narrative and conceptual elements. Themes: Power, race, history, endurance. Notable works: Deadpan, Western Deep. Style: Minimal, intense, uses actors and real events in a poetic cinematic form. 📜 7. Sophie Calle Practice: Uses real-life investigations, staged reenactments, and scripts in visual installations. Themes: Surveillance, storytelling, personal narrative. Notable works: Take Care of Yourself. Style: Combines text, photography, video – blurring script and documentation. 📽️ 8. Fiona Tan Practice: Installations combining archival footage with scripted voiceovers and narrative structure. Themes: History, memory, language. Notable works: Disorient, Rise and Fall. Style: Subtle, reflective, using narrative film structure in spatial settings. 🔁 9. Jesper Just Practice: Cinematic video installations with professional actors, emotional ambiguity, and lush production. Themes: Masculinity, identity, intimacy. Notable works: This Nameless Spectacle. Style: Non-linear, visually seductive narratives. MOVIE TRAILER: concept / May 2025 MOVIE TRAILER: Urban Jones Stars in .................. Inspired by TRUE Events CHURCHSTUDIO LTD JUNE 2025 (instagram.com / ) Filming the repeating dialogue of a sermon note from different angles. Package (format) as a new movie trailer release: Sermon Notes to consider: Learn to put things down - to receive from God It's on charge whilst Ive been charging Life can be insecure but God has our back He gives it to us to give to others Sometimes we can't see the way forward God shows him something in the natural to show the supernatural What your seeing in the physical, God might be doing in the supernatural We are Gods hand extend a hand God is deadly serious about his promises to us WORSHIP+sermon+menu+puppet(s) Inspired by the LED (Ultra Narrow Bezel 32 43 55 Inch Advertising Screen Fast Food Hanging Restaurant Digital Menu Board Hanging Restaurant Menu Board) menu screens at McDonalds, I wanted to create a glossy, infotainment visual treat with extra ICE-CREAM, chocolate and sprinkles.   NOTES FROM PRACTICE: Practice: LIVED Religion  Art making as Research for Teaching:  7 second films  Locations: Dog walks Church building College building Estate agent houses  Card board boxes Dudley council houses The top of EVOLVE Different parts of me kneeling  The Pastors house The car… Other local church spaces  Saltmine building  Digital images merged with paint -literally painted into the surface through layers of paint…painting over digitally manipulated images…(exciting) digitally manipulated sermon text - blender / illustrator / photoshop / texture vs glossy / use screenshots…place image on large tv screen and capture details as video piece… New theme new focus: WORSHIP - what this means and how it alters depending on context…how it impacts civilisation… What should I specialise in?  What should I dedicate my life to? To gain masterful technical insight? Video art / performance art / art Sermon sculpting  / sermon sculptures /  The character becomes self-portrait on monster body (try and see) My responsibility is to the idea not the audience…(Paul Mcarthy)  Video piece: idea (tableau vivant) - living picture - pastor (1 minute in) pastor (2 minutes in)  Teacher (1 minute in) (2 minutes in)  Pictures in speech bubbles / pictures in thought bubbles /  Sounds and their linked objects (video + sound piece)  Sermon Show 1+: re-packaged (for the discerning consumers)  Repeat sermon notes…(voicing differently)  PERFORMANCE: green screen  Interpreting motion graphics through impromptu movement and sound… Access to photo studio: Monday / Tue / Wednesday (green screen suit)  Worship -  Bring adobe characters back…3D (The Word - Made Flesh) (feedback) (didactic)  Typewriter effect (after effects) + premiere pro (do the whole sermon)  Doing Business With God (episode one) - recording my face whilst listening or watching something (that I feel compelled to watch) always 5:30 minutes long… Creating an AI script and performing it…(acting)  Recording ‘lessons’ as art if you’re a teacher - you can teach anything…(khan academy) - appropriate power points (copilot)  Next piece: green screen + improvised script - two characters (with context setting) no reading just pure performance… Multiple Cameras!!!  Singing a line from a worship song as audition… Performing gestures as audition - consider actions as behaviour for auditions… Repeating terms ‘let me pray for you’ as if trying to capture the characters essence! Imagine talking to the casting director… New Movie Trailer 2025 staring Urban Jobs (Jobes) - repeating sermon notes (as acting)  Formally read through sermon notes - chair table neutral back drop maintain a constant volume (as if creating a layered sculpture with words) - wearing a mask? + ask God to fill my imagination every sermon, make notes, recreate and present as a juxtaposition to the formal reading of the sermon notes as performance… Demonstrate Gods gift of imagination  Add blender text and illustrator arrow  Band names (fictional + song titles) + album art work  Artists names Funny faces - ice creams  New chocolate bar names  Brand names  New logos - with name  Colours Shape formations Repeated forms  Mundane objects - placed against a background  Faces stamped - edit brush define preset - pastors + parishioners martyrdom names from Christian history merged with parishioners names from local churches + businesses online + any source online (as material)  Maybe carrying out a silent activity or action or process in front of the video piece…filming both…video becomes backdrop?  Maybe write some lyrics - to then perform (without music) ?  Use garage band to create a track… Close up filming of sermons + use Ai to speak out sermon notes then re-order then finally add a very small puppet…recording a fast food menu + triptych (puppet - close up video - closeup menu) To perform the role of an artist and teacher  Make Art - only God really knows… Notes from A place in the sun + Sermon notes = art Paintings: Facts+sermon notes+life style quotes… Glossary Paintings:  Immersed in Gods absence on the cross (TK) They need each other but are also in opposition (paradoxical) Roni Horn  You did a couple of pillow cases so now you can say you made the bed! (Cat) Lord, What should I be teaching: performance and video art + conceptual art + body art - teaching students how to facilitate an event, action, moment, encounter, situation or environment that subverts, challenges and or disrupts a moment in time + audience… Art critic’s conversation  Homes under the hammer conversation  Sermon notes  Pedagogical text  Adverts - stolen text  Paul talks to Peter again Characters: Animal  Robot Child’s drawing  Monster  Muppet Stick person  NEW: sermon notes processed through Chat GPT - ask chat gpt to reword the text into a POP SONG…then process the new text as a simulated karaoke song lyrics via PP. set up 2 cameras one facing me, singing and the second, filming the MAC. Process as a single channel video. Finally using garage band add guitar + drums?  Pedagogy and Religion and Art?  I prefer to feel indifferent and somewhat sceptical about my work. As opposed to joyful and celebratory. Painting should promote thought, questions and serious contemplation not simply a feeling of conclusion where one’s thoughts are limited to a surface response.  Paintings informed by everyday encounters (really)  Oh no it’s a grey emergency - there Adobe Express is NOT saving - take your time to save (everything is lost - temporarily as the screenshots are still on the desktop. Illustrators answer questions  Artist create questions Using (historic) written assessment feedback (emit names) (sing )with juxtaposed-slideshow of constructed art work…( )   Feedback (pedagogy) - Prayer (religion)- hymn(worship) song + how can feedback become a visual equivalence? The relationship between things (animate+inanimate) visual dynamic judgments - how one thing impacts another - how one thing reacts to another - the space between things - recount actions - between people and objects - kindness in moments of encounters - “move a chair to allow many people to walk through the new space created by that simple act. Do not make eye contact but instead focus on the simple act of gradual movement, quietly yet confidently allowing the action to take place.”  Knowing need - performing everyday life (Goffman) AKaprow  Giving good news / giving bad news / giving neutral news / giving no news /  Title: Alexa set a two minute timer called (really, maybe, yes ok, maybe, yeah, really)- PAINTING…(your really, maybe, yes ok, maybe, yeah, really timer is up.) New idea: interpretation(s) How many conceptual art ideas can I generate to then create didactic (diagrammatic) acrylic paintings from them!  Singing each word from a sermon - each word = 1 video piece! The words will never be played in sync only heard in isolation…! Singing sermon notes from phone - revealing legs!  Singing each word from a sermon…with a character…(abstract character design)  GALLERY SHOW / EPISODE 1 ‘2D Problems’: A Critical Reflection By an Art Critic (Ai Generated text) In 2D Problems, the artist presents a looping, digitally native gesture: the endless scroll of a mobile phone screen, rhythmically transitioning from one video sequence to the next. At first glance, this piece appears deceptively banal—familiar, even. Yet, embedded in its repetition and flatness is a surprisingly complex invocation of the sacred: a digital liturgy echoing both personal testimony and collective yearning. Here, scrolling is not merely an idle act, but an existential gesture, an ersatz ritual of epiphany enacted in pixels. The artist, born and raised in Hednesford, a post-industrial town nestled in the Staffordshire coalfields, draws upon a landscape of cultural marginality and religious resolve. This Midlands geography, often overlooked, hums in the background like a spiritual sub-bass—an echo of formative evangelical experiences and working-class materiality. In this way, 2D Problems becomes a kind of prayer; not offered up with folded hands, but performed through thumb and screen, through flickering light and algorithmic flow. The movement from one clip to the next becomes a gesture of both engagement and abdication—an embrace of infinite content, and a silent confession of the inability to stay still. This is where the piece finds its gravity: in the gap between wanting to see and the fear of missing something better. That flick of the finger, at once instinctive and hollow, begins to resemble the act of turning a page in scripture—except here, revelation is endlessly deferred. Each swipe offers the promise of novelty, of presence, of clarity. But the moment always slips into the next. Epiphany, as experienced in 2D Problems, is no longer a moment of divine intervention—it is a flickering tease, a glimpse of meaning drowned in noise. There is a particular poignancy in the artist’s identity as a Christian navigating this digitised terrain. The scroll becomes a cruciform gesture—not in its shape, but in its affect: a quiet yearning, a fatigue, a search for transcendence through a medium structurally allergic to depth. What we encounter here is not sacred imagery, but the sacredness of absence, of reach without grasp. In this, 2D Problems resists resolution. It speaks to a generation caught between icons and content, between the stained glass window and the TikTok loop. This is, in essence, a portrait of transformation—not the kind forged in fire, but in data packets. And it is doubly so: personal and cultural. The artist's Christian upbringing—a faith tradition predicated on presence, incarnation, and the Word—collides with the flattened temporality of digital life. The work does not reconcile these tensions; it exposes them. What it offers is not salvation, but a recognition of the void. And within that void, perhaps, a new kind of faith: one that scrolls, stutters, and still believes. The focus of this piece was to replicate (create a pastiche) of a typical YOUTUBE video showcasing contemporary art and artists. Initially informed by a LISSON Gallery short video, the structure of this piece is designed to act as an introduction to a single art work, exhibited at the Mark Kekumano Tapia Gallery (A name constructed from the closing credits of a SKY TV production). The work, at this point is the entire video, including opening and closing credits. Does this format provide a type of legitimacy to the production of experimental video art? Providing a package that is familiar yet equally perceived as instantly successful, in terms of its context? The gallery space image is appropriated as is the critique of the work - Ai generated through chat-GPT, where specific parameters were fed into the system.  There is an aesthetic that mimicking a contemporary gallery provides, a glossy, legitimate, purposeful, chosen and successful air of validity...However, I'm not fully driven by any of these drivers, instead its simply a new format to package the experimental work I'm generating. There is an opportunity here, utilising this type of format to construct new gallery identities with new work being showcased alongside newly generated AI critique.  MASCOTS - a new series of A2 paintings in acrylic based on the concept of mascots. The idea for paintings developed as I was developing a new 'potential' project for a Graphic Design programme. I started to realise that there is a wealth of possibilities within this simple costume/human set up. I started to enjoy the bizarre, mutated humanoid forms where costumes could evolve to add meaning to the scenario and or multiple mascots could gather to create narratives? The process of production starts with an A6 drawing (pen/pencil/fine liner) on 96g/m paper. This drawing is a start point towards creating a larger A2 painting on 300gsm Langton paper. Future iterations could involve direct inspiration from Pokemon Monsters / Video Game Characters and other, culturally engaging creatures, where the arms of the Mascots start to depict the many positions of Christ, painted throughout history. Backgrounds, environments and spaces could also start to reflect new ideas, taken from video game platforms, landscapes from biblical scenes or simple domestic spaces, inspired by RIGHTMOVE.  Exploring new anatomical postures for the mascots is also an area to develop and consider, where characters are behaving differently, as opposed to simply facing (plan view) the viewer.  TEXT for a painting submission: Bankley Gallery Open Call 2025 Historically mascots performed the role of 'lucky charms' and objects to ward of evil through there 'supernatural' dimensionality. The origin of the term 'mascot' in its Latin form meaning 'witch' is not the thematic intention for this painting. Instead these costume based hybrid's are in fact fictional characters designed as part of a wider, growing 'mascot' community that continue to evolve, amuse and entertain. These characters do not profess to bring good fortune, hope in the midst of defeat or success in the face of failure, instead they are ambivalent as to their duties and will agree to attend your event for a small fee and a slice of cake! Performing a new role within a costume can be an extremely enriching experience that builds confidence, entertains and encourages the formation of new communities. Mascot's in the 21st Century are designed as promotional branding that remind us, the consumers of a product, team or event that should, according to external agencies, be of upmost importance and even a priority for us, to consume, on a regular basis. This painting, although seemingly visualising a human in a costume is the mascot's anthesis, designed not to promote a brand or product, but, instead created as a fictional form that simply fulfils its own unique destiny as a hybrid form, part object part human and nothing more. MASCOTS / Ai Research: Secondary Text The Mascot, a Prestigious Talisman for Brands If the mention of the term mascot brings to mind a kind of big, benevolent teddy bear, the term actually originates from the Provençal word "mascoto" which means bewitchment, enchantment, or witch. The Larousse dictionary speaks of a lucky charm or fetish, underlining the protective character of the mascot which would come, like a talisman, to break or protect from an evil spell! The first known use of the word "mascot" dates back to 1880, in the comic opera subtly titled "La Mascotte" by Edmond Audran. The composer stages a young turkey herder who brings luck, happiness and success to whoever possesses her (as long as she remains a virgin, of course). The mascot can therefore be an object, an animal or a lucky person, who wards off bad luck by their mere presence. If we add to that the fact that a brand's logo, derived from the seal, is also originally a magical symbol, a kind of protective incantation, we can better understand why brands wanted to doubly seal off bad luck. In Latin, the words "seal", "symbol" or "signature" are contained in one word: "charactere", an ideogram impossible to pronounce but which is understood and used to communicate, and which contains or confers a certain power to the one who possesses and applies it (Sébastien Hayez, Étapes magazine #272). Provided one is initiated into it, the brand thus exudes a certain prestige, which it can accentuate with a good mascot. We can see in this illustration some symbols from different practices or cultures around the world (thin lines), and modern logos that echo them (in bold), all taken from Adrian Frutiger's book "L'homme et ses signes" (Mankind and His Signs). Some symbols from different cultures or practices: Japan, runes, magic amulet, Benin, alchemy, Celts, Crete... and modern logos that echo them (in bold, 2nd and 4th lines): Today, there is no more talk of witches and spells: the mascot not only brings luck (ie, in the 21st century capitalist language: increasing revenue), but above all embodies the relationship between a double (symbolically representing a community, a brand) and spectators, through intentions and a beneficial distance for all. Oswald the Lucky Rabbit from Disney, Groquik and Quicky from Nesquick, the pink rabbits from Duracell and Energizer, the Cassegrain rabbit, and Serge the RATP rabbit. The semiotician Jean-Claude Boulay, in his article "Brands, Communication and Mascots", describes the mascot as "an anthropological buffer that plays a facilitating role between the recipient and the sender, of which it is the displaced emanation". It then defuses suspicion, thanks to its (more or less) reassuring features and the distance it establishes. Apart from Monty Python, who would be wary of a rabbit? Mascots, in Search of Animation Humanity has long tried to embody life to an inert body, and the mascot is, along with robots and avatars, one of the heirs of this long quest. Historically, this quest begins with the first human representations and the Venus sculptures of the Paleolithic, feminine talismans with exaggerated proportions, mascots of pregnant women. It continues in Greek Mythology with Pygmalion who sculpts his feminine ideal to whom Aphrodite gives life, or Hephaestus who creates two servants in gold; then in the Jewish tradition with the creature of the Golem that appears at the naming of sacred texts, or the Homunculus, in alchemy. The quest of giving motion to the inert continues with the automata of Alexandria in antiquity, in cultures practicing the art of masks that bring all sorts of creatures to life, is found in the animist Shinto religion that animates various "living" beings under humanoid features such as the Bunraku puppets or the karakuri ningyō automata of Japan, but also in the articulated statues in India and Egypt, then later in Da Vinci's mechanical knight, in the Cartesian theory of the animal-machine in the 17th century, and through the numerous automata and animated mannequins that fascinated the Age of Enlightenment, ancestors of robots. More recently we find this quest on the screen in cinema, which animates the inanimate, or in modern cybernetics and robotics, which have given birth to Artificial Intelligence. From top to bottom and left to right, Da Vinci's mechanical knight (reproduction) — Golem, Jerusalem, Niki de St Phalle, 1971 — Tolaï dancer, Papua New Guinea — Bunraku puppet, Japan — Asmat Masks © Agats Museum of Indonesian Papua — Arnold Schwarzenegger in Terminator 1, 1984 — Maria, robot from Fritz Lang's film Metropolis, 1927, Louvre copy from 1994 — Venus of Willendorf, -25,000 years BC (Upper Paleolithic) — Pneumatica by Heron of Alexandria, technical drawing of a hydraulic device with artificial bird songs, 13th century. But for a long time, from Antiquity to the 13th century, non-humanoid automata were created because the monotheistic religions prohibited playing the apprentice sorcerers and giving or simulating life, a privilege of God alone. The Muslims then created magnificent clocks, and the Christians invented all sorts of animals. Because of this prohibition against animating the human form (anima means "vital breath, soul" in Latin), there was a fear that the creature would turn against its creator (as in the myth of Frankenstein). The fear that machines and robots (or AI) will take the place of humans is still very strongly rooted in the West, even today! On the other hand, on the Japanese side, of Shinto belief, there is no taboo concerning the simulacrum of life. For them, matter is alive, and every thing (wood, metal, stone...) is inhabited by the kami... even if it seems inert. No movement does not mean no life. Animating a human-shaped puppet or making a radish-shaped mascot speak is therefore not strange, since the wood of the puppet is already charged with life, just like the radish. This is why mascots and humanoid robots are so popular in the Land of the Rising Sun. Before diving into the world of brand mascots, in a future article, let's take a closer look at these kawaii mascots. Japanese Mascots In the wonderful world of mascots, Japan thus effortlessly rises to the top spot—not to mention that we owe the invention of Pokémon to them, which sometimes also serve as mascots. As early as the late 19th century, Japanese brands were already using animals (cats, bears, pigs...) to sell cigarettes, then textiles and alcohol from 1950 onwards. After these years, we see the appearance of 2D images aimed at a young female audience, which quickly had an effect, offering derivative products, notably "Hello Kitty" from the 1970s onwards. In the 1990s, plush mascots were used to promote national tourism, they were called "Yuru-Kyara" a contraction of yurui masukotto kyarakutā, meaning "cute, slightly silly soft characters". Cities, restaurants, the police, museums and even prisons or toilet disinfectant brands then adopted mascots to represent their image. Kumamon and All His Friends Kumamon, for example, is a very popular bear mascot of the Kumamoto prefecture, created in 2010 after the opening of a high-speed rail line, to attract travelers to the region. He was elected Mascot of the Year, traveled all over the world, and generated $1.2 billion in 2 years for Kumamoto, with $29.3 billion in 2012 from derivative products alone. If we believe what he says during interviews, Kumamon is "Commercial Director" and "Director of Happiness" and his role is to bring kindness and comfort to local populations, such as after an earthquake. A true national hero, his role is far from being taken lightly. Kumamon in Kumamonland, and goodies in his image Among the various Japanese mascots listed on the Mondo Mascots account (a gem) are the zany Mr Pitch, the soccer league's mascot in the shape of a lawn guy, Hikonyan, the mascot of a castle (top left below), Jumball the 3rd, king of watermelons, mascot of the town of Nyuzen, Gajiro Kappa, the lake mascot who terrifies travellers in Fukusak (bottom right below), Koronon who distributes masks against the corona virus (the pink cat), Unberto from Tokyo's Poop Museum, or others who represent the legalization of cannabis, to cities and international exchanges, via railway companies. All in all, there's plenty to keep us entertained as we visit the country, and give us an occasional big hug. Bonus features: Benki Shiroishi, the guitar-wielding toilet and mascot for Sanpoll disinfectant, and Choppy, the lighthouse-cabbage from the town of Choshi. Replacing City Logos with Mascots? In the first image, half of the mascots represent cities and prefectures. In terms of branding, mascots play a crucial role in Japan since they complement the logos of cities or territories, which are part of a long tradition of territorial insignia. These icons are most often round, drawn and constructed around symbolic natural elements, and above all inherited from the emblems of ancient coats of arms; we are very far from the city logos of France or Europe. Japanese prefectural "logos", symbols inherited from coat-of-arms insignia The mascots of Japanese prefectures are living identities of sorts, taking up the "flagship" elements (literally, sometimes, as Choppy) of the territory - flowers, architectural elements, a local specificity - while giving them a friendly, amusing and courteous personality. For example, the large yellow man with cap and moustache shown above is named Lerch San, Niigata Prefecture's mascot. He embodies... a Hungarian ski instructor, Theodore Edler von Lerch, who pioneered ski teaching in Japan, enlisting in the Japanese army in 1910! The mascot pays tribute to him and promotes skiing in the region, although there is also a logo featuring the prefecture's emblem. Theodore Edler von Lerch, Niigata Prefecture's logo, and the mascot Lerch Sa Let's play a little game: what kind of city mascots would you imagine in France? A pigeon with an Eiffel Tower hat for Paris? A bouchot-crab for Saint-Malo? A slice of cheese on skis for Arèches Beaufort? We look forward to hearing your ideas in the comments! In the meantime, here are our kawaii versions, made with MidJourney. Our kawaii version of Paris and Arèches Beaufort mascots, created with MidJourney And in an upcoming article, we'll be taking a look at brand and sports mascots. Contemporary MASCOT imagery (online) The current paintings explore mascot's de-masked. A person holding their own mascot head. Its playful whilst exploring the duality of a hidden and exposed sense of self.

Text below generated through CHAT GPT:  Artist Statement (Draft) My work explores the fragile boundary between identity and disguise, spectacle and sincerity. I paint contemporary figures inhabiting, removing, or carrying mascot costumes—characters designed for entertainment, for communal joy, for branding. When the seams of the costume are visible and the person within begins to emerge, we are confronted with a paradox: the human being both hides within and struggles against the larger-than-life image they animate. As a Christian, I see these mascots as more than pop-cultural curiosities. They function as modern parables of the human condition. From the beginning, humanity has clothed itself in coverings—Adam and Eve with fig leaves, or the many roles and masks we continue to wear. We conceal ourselves from one another, and yet we long to be fully seen. Mascot costumes literalize this tension: they amplify joy while simultaneously obscuring the individual, creating a gap between appearance and reality. In showing fragments of the costume—an oversized head carried under an arm, a paw dangling at one’s side—I evoke moments of transition. These are liminal states, where the false self is being put off but the true self is not yet fully revealed. For me, this resonates deeply with Saint Paul’s call to “put off the old self” and “put on the new self, created after the likeness of God” (Ephesians 4:22–24). I am also interested in how mascots parody the sacred. Just as vestments or icons point beyond themselves, mascots embody and project identities larger than the person inside. Yet while sacred imagery is meant to reveal divine presence, mascots often mask and distort, leaving us with an image that is playful, sometimes grotesque, often empty. Through these paintings I seek to hold open a space of ambiguity: the uncanny yet tender moment when the mask slips, when the costume is half-on and half-off, when the human face reemerges. It is here, I believe, that viewers might confront their own layers of disguise and consider the promise that in Christ, we are seen, known, and clothed with a truer identity than any costume could provide. Wall Text (Condensed) These paintings explore the tension between disguise and identity through the imagery of mascots and costume fragments. Figures appear inside oversized suits, or carrying pieces of them, caught between concealment and revelation. For the artist, a Christian perspective deepens this theme: just as Adam and Eve once hid behind coverings, we too wear masks to manage how we are seen. Mascot costumes embody this paradox—they project joy and belonging, yet obscure the individual within. By depicting the in-between moment, when a costume slips or is removed, the work evokes Saint Paul’s language of “putting off the old self” and “putting on the new.” These images invite viewers to reflect on their own hidden layers, and on the possibility of being fully known and clothed in a truer identity. The Mask, the Costume, and the Hidden Self Philosophical: The mascot costume is a literalization of the mask, a theme from philosophy and literature (e.g., Plato’s cave, Kierkegaard’s reflections on despair and selfhood, Nietzsche’s remarks on masks). It represents concealment, performance, and mediated identity. Christian lens: Christianity emphasizes that God knows the heart beyond appearances (1 Samuel 16:7). To paint people in mascot suits—or carrying their pieces—evokes the tension between the hidden and revealed self, the persona versus the imago Dei. The costumes dramatize the biblical idea that humans often hide behind coverings (Adam and Eve with fig leaves) yet are still seen fully by God. 2. The Carnival and the Sacred Cultural significance: Mascots are linked to entertainment, sport, spectacle—forms of secular ritual. They are communal symbols, meant to embody values or identities larger than the individual wearer. Christian reflection: This overlaps with the biblical critique of idolatry and false images. A mascot costume might be seen as a parody of the sacred vestments of priests or saints—signifiers that point beyond the wearer. The question becomes: is this pointing toward God, or toward mere consumer culture? 3. The Fragmented Costume, the Exposed Identity Visual motif: Showing people carrying parts of costumes—detached heads, paws, oversized pieces—suggests transition, incompletion, or exhaustion. This destabilizes the "illusion" of the mascot and foregrounds the fragile, human labor behind it. Philosophical weight: It suggests the disjunction between role and reality, performance and authenticity. Christian resonance: It dramatizes the Pauline theme of “putting on” and “taking off” (Ephesians 4:22–24: “put off your old self… put on the new self”). The moment when a person removes or carries the costume becomes an allegory for the spiritual life—exposing false selves and clothing oneself in Christ. 4. Play, Innocence, and the Grotesque Mascots are associated with playfulness, fun, and communal joy, but when decontextualized in art, they often look unsettling, even grotesque. This duality highlights the tension between innocence and distortion, joy and alienation. For a Christian artist, this can symbolize the fallenness of creation: how symbols of innocence can become uncanny, or how joy is always shadowed by brokenness. Yet it can also hint at redemption—the possibility of rediscovering childlike joy beneath the layers of artifice. 5. Incarnation and Representation A mascot mediates between a community and an idea (a team, a spirit, a brand). In Christian theology, the Incarnation is the ultimate mediation: God taking on flesh. The mascot, in a strange secular parody, becomes “word made costume”—a body representing something beyond itself. A Christian artist might highlight the failure of this mediation—how human symbols inevitably fall short—and thereby direct attention to the true Incarnate One who reveals rather than conceals. 6. Contemporary Conceptual Relevance In a world obsessed with branding, curated identities, and social media avatars, the mascot becomes a perfect metaphor for contemporary identity. A Christian engagement here would critique false selves while offering an alternative: that the true self is not constructed or branded but received as a gift from God.  In summary: The Christian artist’s mascot paintings are not just quirky pop-culture mashups. They become profound meditations on: hiddenness and revelation, false images versus true icons, playfulness touched by brokenness, the tension between secular spectacle and sacred incarnation. Information for adding text to paintings: Thought and speech bubbles: