Painting: "Transference"

I began this new term with a return to my original medium of producing work, painting.


It's something I've shied away from the past academic year, but in the realisation of my own Chromesthetic experiences I believe now is the time to look at the way I produce paintings again.


I began with creating a formula for the production of my paintings, a process which I would encorporate throughout the paintings I create.



"Every mark corresponds to a beat or time signature in the music or sound I listen to,

Each mark can be applied in no longer than 1 second,

There is no predetermined course for the marks to be applied,

There are no set colours chosen before, only those experienced after exposure,

There is no predetermined form, only synchronous marks,

There is no predetermined scale."

Because my paintings don't have a predetermined path of creation, it's difficult to plan or map any sketchbook documentation.


The only base material I ever pre-plan is the type of paint I will begin the piece by using.


I find that oil is the only paint with the consistency, malleability and pigment depth of tone that works for the images I want to portray.


I never use a thinning agent when painting, as I've found that it completely changes the application process and does not allow me to conduct my strict ruling.


The object that I use to apply the paint and build the compositions varies from piece to piece, as before I begin I don't know how tall the initial "cylindrical" forms will be.


The height is variable but the width remains timed synchronously with the sound.

Suspended Perception


Materials needed - 


1 pair of headphones

CD/MP3 player


Dimensions and site variable.




The idea of this project is to explore and document how sound can be used to alter a persons perception of a space. The idea was born from my love of alternative horror films, and the way that sound is used to heighten the intensity of a scene or overall theme of the picture.


My idea is to take the low end frequency sounds that are used in modern horror films and play them through noise cancelling headphones, while the subject (or audience) member simply observes the room. 


Because of my own natural reaction to hearing a sound that’s pre-determined to build suspense and a much darker atmosphere of viewing a scene (whether it be in a film or everyday life), I’m going to experiment with how the subject reacts to the sounds they are hearing. 


Obviously, as this is an experiment born from my own experience it will not affect every subject involved, but I believe that an extended exposure to an alien sound in an environment where it is not usually experienced will create an interesting divide between peoples perception and the way their mind will change where they are being forced to expect something to happen.


As I stated above, the dimensions and site of this piece are completely variable, but the sound will remain the same. 


I am going to exhibit this piece in the degree show, but also experiment with it in various other environments; I want people to experience it in a wide open space, which will be as isolated as possible and for them to document their feelings as the piece progresses. But also in familiar surroundings where they would never usually associate with the feeling of fear or suspense. 


Sound Room


1 room blank room

1 projector

Sound system - PA (own) and subwoofer

Portable DVD player

1 brushed Perspex sheet - Size variable to room dimensions


Dimensions of room and site variable - enough room to hold 3/4 people





This work is a continuation of my installation entitled “Columns”, and is more of a direct experience based installation. It also refers back to my painting “Blue Sound”.


The concept behind this project is to build a room and fill it with sound that stimulates my Chromesthesia and illuminate the room in that colour.


As my main aim in my artistic practice is to explore the potential of creating an external visual and audio environment for the viewer, I will invite the audience to come and dwell within the sound room and experience the different environments.


As space within this project could potentially be a problem, I am going to develop a system where when the sound changes, the light in the room will adapt and change to the colour I hear.





Materials needed: Homemade lightbox

2 light sources (30watt lamps)

Subwoofer and speak system concealed within light box

Dark room


Dimensions variable, scale to size of installation room




Columns would be a piece of work that stands against my paintings of synaesthetic experience, to take away the conscious and metaphorical element of human perception and reproduction in painting.


I want to create an immersive experience for the audience, as synaesthesia is not a widely experienced phenomena. 


The piece itself is a lightbox, with a sound system concealed within. On the top of the box is a clear sheet of acetate, onto which I place a layer of water and drop pure pigment.


As the sound piece is played through the light box, the sound waves travel up through the acetate as vibrations and turn the sound into a visual stimulant.


The light box then projects these sound waves into the surrounding room, filling the room with shapes and colours that are created by the sound. 


This is of course only a metaphorical exploration of the synaesthetic experience, of quite literally seeing sound and how it interacts with colours.