“There is a series of ten black-and-white paintings in acrylic on paper. The history of art brings forth associations and relations, from the development of the grid as a foundation for perspective in the Renaissance, to the nineteenth-century illusionism achieved through Pointillism. There are Gerhard Richter’s black-and-white paintings, László Moholy-Nagy’s telephone paintings, Agnes Martin’s feather-light grids. But the connection to the history of art crumbles in front of the actual framed paintings. They’re human, Strand says, as she reasserts that she is not a painter. They’re messy, imperfect. There are hairs that stuck to the paper, dust congealed into the paint” 

Clare Strand in conversation with Orit Gatt.

For the DigitalPaintingPhotography symposium, I will talk about my recent Deutsche Boerse nominated work The Discrete Channel with Noise. I take, as starting point, Claude Shannon’s landmark 1948 paper, "The Mathematical Theory of Information," extending out to a range of references; from Roald Dahl's character, Mike Teavee to the Mariner 4 flyby of the planet Mars. The Discrete Channel with Noise experiments with the transmission of data alongside the channelling of a photograph into a painting and back to a photograph.