Currently the work I am producing involves the production of television images in the medium of paint. In this work television images are translated into the paint medium and as such are introduced to the tradition of painting. On the one hand this involves the traditional materials, canvas stretchers, gesso grounds, pigments and oil mediums, techniques of under painting, blending, layering and so on. On the other hand there is the tradition of the values that painting has observed in its own progression. Spatial relationships, the integrity of the paint as its own representation. In particular the values that modernist painting made so blatant. In this sense I am interested in the schism that occurs in the loss or gain of translation. Where the piece ceases to be a broadcast image and yet as a painting it has no construction. There is no building or drawing. It exists as an execution of colour and paint without a construction of imagined form. The space that occurs on the canvas is immediately explicit. In a way its as though the image has been broadcast and has been picked up by a painting. It’s worth noting that within the images as formal arrangements of colour there are the representations of icons of television and cinema. Images of the shows and films of my youth are those, which most frequently appeal to me, while this is not the criteria for the selection of the images. In this way another translation occurs. That of low art to high art. Populist consumerist icons invade the elitist specialist space of painting. As an issue at this time this is probably corrupt and redundant. However like all of the issues mentioned, it is present to some degree. With all of these as pieces of information or justifications what exists are: slightly naïve executions of iconic images. Like the small boy who renders a copy of his favourite Star Wars poster. All this and nothing more.