Via a convoluted process of compression, conversion and transmission; information documenting the site of the painting is broken down to data and de-cohered, mistranslated and finally planted in John Conway's Game of Life. The fruits of this postefficient process, the still lifes and oscillators are sampled and painted onto the floor, ceiling, walls and furniture from a projected image so that when re-photographed from the point of view of the original shot it is flattened to 2D, bringing the plane of the screen across the space of verifiable reality.
Working around and through and away-from technology's relationship with humanity Ben Garrod has an old computer, some water colours, a mobile telephone, some effects pedals, lots of Greg Egan and Philip K. Dick novels, several tumblr accounts, and an OHP. With these he has made perspectival trompe l'oeil wall paintings intended to collapse virtual and verifiable spaces through design-duration-documentation. Born in Bedford in 1981 he received a BA in Fine Art; painting, from Bath Spa University in 2005 or 2006, and is currently studying for an MFA in Fine Art Media at the Slade. He often works collaboratively with Lee Stone and Adam Burton. Recent work includes experiments with naive digital image/sound processing, and QR codes that address the viewer-phone as a posthuman consumer.