Painted Ground, Erased. Double Projection Looped 

A painted portrait, fixed in the single duration of its making, is met by a process with no such fixity: an algorithmic grid dismantles the image cell by cell, at a pace set in code rather than in paint. The image is repositioned rather than removed, doubled against itself rather than simply mirrored, and the digital intervention reads equally as loss and as renewal — the work doesn’t ask you to choose between them. With Adam Greenfield in mind, especially the account of infrastructures that quietly reorganise presence without asking permission, the piece sits in the gap between a ground that was crafted once, by hand, and a surface that can be undone and remade, indefinitely, by rule.