Here I reflect on why I enjoy using watercolour – how it connects to and differs from my quantum-digital works, and the ways in which the fluid expression of the medium connects me to the multiverse. Additionally, I speak on my progress with my ongoing Sainsbury Centre commission.
Life in the Multiverse
In my ongoing commission for the Sainsbury Centre, Norwich, these paintings arise from somatic encounters with the museum’s Living Art Collection asking artworks about the meaning of life as something experienced, sensation by sensation, touch by touch.
The watercolours do not document specific objects. Instead, they register how I’ve been speaking to these works through my bodies, through sensations, through memories and attentions.
My paintings function as condensed fields of relations: tickles, scratches, itches, nudges and tears. They hold perceptual shifts and embodied responses within their surfaces.
These works sit in continuous dialogue with my digital and computational practice – like quantum entanglement, the two are inseparable.
My screen-based installations explore layered and blurry quantum processes of superposition and entanglement through interactive environments and quantum-digital Talgorithmic transformations.
The watercolours extend this into physical space, translating similar principles into material form through my bodies at the scale of my hands.
Both processes investigate quantum emergence, instability and interconnectedness. Together they articulate a practice that moves fluidly between technological and tactile, the personal and the universal realms while remaining conceptually unified.
Watercolour is a site where uncertainty is welcomed, where relation generates form and where meanings emerge through intra-action.
Each work carries this lived process within it, offering continuous experiences of becoming.
