#bolamat50 Phew! I made it.


HyperScape I – single screen version (2003)

I have been saying “when I’m 50” for so long, it seemed like it was never going to happen. And then suddenly it’s been and gone.

I made it. #bolamis50

I have two shows running until 5th June 2014, “HyperScape X” at Access Space and “Stained by Dead Inkjets” at the Rutland Arms, conveniently located opposite each other on Brown Street, Sheffield, UK.

HyperScape X is a three-screen generative work that imperceptibly changes from one state to another. The images are made of composites from images I hand-drew in the late 1990s using the Macintosh software Aldus SuperPaint 3.5.

You can see it running in the background in this timelapse video of the opening evening.

There is also a small museum exhibit in the foyer made up of earlier HyperScape works and other work and artefacts contemporary with it.


Artefacts from the 1990s.

“Stained by Dead Inkjets” is a series of 33 new paper collages made from old work and spoiled prints. Prints of some of the images used in HyperScape X also appear in these collages. 14 of them are on display at the Rutland Arms, and two of the collages are part of the “Process” show on at Cupola Contemporary Art in Hillsborough, Sheffield, UK until 24th May. All the collages are for sale at £49.99 each (including frame, carriage extra).

Stained- visualisations with prices.028

Stained by Dead Inkjets – collage #28 (title tbc)

(What’s So Funny ‘Bout) Love, Hate and Ambivalence? – Technophilia vs Nostalgia

Screen shot 2013-02-12 at 07.05.02

It’s fair to say I have a love/hate relationship with technology. Although I am fascinated by technology, science and the wunders of the universe, I see unchecked technological progress as the single biggest threat to health, wealth and the environment. I consider myself to be a traditionalist, although my chosen media are usually modern and digital.

Given the best part of a generation since I made these images, it’s interesting to think that, at the time, I wanted to work at a higher resolution. But looking at them now, they would not embody the same satisfying contradiction if they did not have the gloopy metallic sheen against the hard, pixellated edge. I like them a lot more now than I did then.

They were made using a graphics tablet and Silicon Beach SuperPaint 3.5 at 72 dots-per-inch, which was a standard screen pixel density at that time. SuperPaint is one of my all-time favourite software painting programs. I don’t know why. There is just something uniquely appealing about its strange selection of tools aimed at expressive creativity, rather than the monolithic blandness of Adobe Photoshop. The two programs are not interchangeable in practical terms, but I hate Photoshop, and have never loved it in the heady, irrational way that I laid my soul down before SuperPaint.

There were a number of other inspiring applications from those days, that were bought out and killed off by software giants, including Aldus IntelliDraw and Silicon Beach SuperCard. But that’s another story.

Technophilia graphics v1.006

A3 composite Retrospective poster of details from all 180 images.

I made 180 of these. I don’t know why.

They are all based upon a grid of 9 x 7. I don’t know why.

I hand-drew them. I don’t know why.

I called the series “Technophilia”. I don’t know why.

Actually, I do know, but I can’t give you any reason other than it felt like the right thing to do at the time.

Screen shot 2013-02-14 at 11.57.40

One of the Technophilia images at actual pixel size on the 1920×1080 Full HD monitor that I use these days.

So, am I just flogging a dead horse? I think not.

In the period since I made them, we have crossed several interesting technological boundaries. One of them is the ability to shoot and edit Full HD video at home. I was a child in the 1970s and had no access to cameras at that time, and no prospect of it. And then, almost without noticing, I have an HD camcorder and can shoot higher-than-HD time-lapse video using cheap stills cameras.

However, any Digital Cinema technician will tell you that simply throwing more pixels at the screen does not necessarily improve the experience for the audience. Contrast ratios and the relative perception of black are fundamentally important. Also, those edges of perception are significant too, in this case the ability to see the square pixels. This work could not have been achieved at a higher resolution, and it’s unlikely that I would have made them if I was working on current desktop computers. And here is the ambivalence. I love the technology I have now and would never go back to the 1990s, even though it was a highly productive time and I am grateful for it.

So, despite always wanting to hurl myself into the future, there were moments when the technology was just right for the purpose. I still have the software and contemporary hardware and will be revisiting these techniques at some point, but not out of nostalgia, and one day those machines will fail for the last time…

There is now a Retrospective flyer featuring this collection of images. Each leaflet is printed with one of the 180 images, and a composite, fold-out poster of all 180. Collect the set!

(If you live long enough.)