I. Social Context: The Domestic Intruder This series deconstructs the television set as the central totem of the modern home. Introduced as a “window to the world,” the device became the first non-human family member, fundamentally reconfiguring the architecture of leisure and the structure of human intimacy. I treat the television as an “informational intruder”—a tool that, under the guise of delivering images, installed a permanent state of noise within the private sphere. NO SIGNAL documents the precise moment when the medium ceases to transmit content and reveals its raw, aggressive nature: the signal error.
II. Methodology: Translating Noise into Matter The core of the project is the translation of the ephemeral “snow” (analog noise) into the language of relief painting. Using a proprietary print painting technique, I materialize electronic interference. This process involves the laborious, mechanical application of hundreds of horizontal paint layers—a “ritual of resistance” against the instantaneous nature of the digital image. The repetitive line acts as a human scanning unit; instead of building a legible image, it accumulates transmission errors into a dense, vibrating mass. The canvas offers a static, high-density topography that traps the viewer’s gaze in a state of architectural friction.
III. The Ontology of Error: Signal as Substance In this cycle, the glitch is not a malfunction but the only moment of authentic medium expression. When the signal vanishes, the television ceases to be a transparent transmitter of reality and becomes a thing—a generator of pure frequency. These works capture the “visual detritus” of contemporary hyper-mediation. By manifesting noise as a physical, painterly structure, a deconstruction occurs: what was meant to be a disturbance is transformed into a concrete object of research.
