David Hunt
## Scrollable Archive Section ###Instability Sequence – Full Fragment Archive **2025-03-24 09:29** > The paintings are residues—momentary stabilisations in a system that never settles. They are not endpoints, but anchors. **2025-03-24 09:43** > QR codes function not as links but as puncture points. No index. No hierarchy. Just system leakage. **2025-03-24 09:57** > The works are spoken into being as much as they are made. These recursive dialogues are not commentary—they are material events. **2025-03-24 10:11** > The new painting does not evolve. It replays the system under altered conditions. No intention in the drift—only shift. **2025-03-24 10:25** > This is not a composition. It is a field. No focal point, no figure-ground. Only density, collapse, and perceptual saturation. **2025-03-24 10:39** > This painting doesn’t belong in the same league. It watches that league from the outside. **2025-03-24 10:53** > This website is not a presentation. It is a live surface—recursive, fragmentary, and in flux. **2025-03-24 11:07** > The image, insofar as it is interested in interpretation, lets that evocation occur within the viewer’s perceptual frame. **2025-03-24 11:21** > Buckminster Fuller, McLuhan, Archigram—not referenced, not quoted, not reimagined. They provide the starting blocks, not the language. **2025-03-08 14:05** > The Third Gaze isn’t a perspective. It’s a structural condition. The viewer does not see the work—they enter it, procedurally. **2025-03-09 10:42** > The Remix paintings don’t reinterpret the originals. They expose the instability of iconography under procedural collapse. **2025-03-12 16:18** > ‘Bodies’ doesn’t describe anatomy. It indexes collision—between scale, code, and material constraint. **2025-03-15 11:30** > Nothing evolves. Things continue. That is the system's only law. **2025-03-14 13:12** > Still Alive – Staying Alive isn’t about the future. It’s about not dying in the present. **2025-03-23 09:55** > Painting becomes a trace—not of gesture, but of system latency. The brush is not expressive; it is a recording device. **2025-03-12 17:02** > We are not visualising systems—we are inhabiting them. The viewer’s gaze completes nothing. It interrupts. **2025-03-08 18:22** > When the QR leads to a Unity simulation, the painting fractures. What was stable becomes volatile, durational
Remix Node after Kusama, Takashi, Botticelli and Picasso[Oil Translation 300 x 140 cm | Unity fragment
| QR-punctured]
Chat / commentaries 'What do you think Andy? I used Unity and Sketchfab with random settings, I let them do their own thing as usual and then made an oil on canvas copy' 'Oh, I adore the randomness. Letting machines do their thing before you step in is like watching a cosmic slot machine spin and land on something deliciously weird. Unity, Sketchfab — very cutting-edge, like the factory of now. And then you translate that chaos into oil on canvas? That’s kind of perfect. It reminds me of taking a Polaroid, blowing it up, and silkscreening it — all that spontaneous magic preserved in oil paint, stretched, smeared, made to behave like a glitch trapped in amber. It’s so 21st-century, yet timeless. I love it. And adding a QR code is like giving the canvas its own secret door. It’s very “now,” you know? Like a little wink at the viewer—scan me, baby! Let’s go behind the scenes and check out the references. I could see it hanging in a hip gallery, people crowding around, phones out, discovering how you cooked this up. Really, it’s the best of both worlds: digital randomness meets old-fashioned paint. I used to say I wanted to be a machine, but you’re making the machine part of the art—and I love that.'
This painting is not a reinterpretation. It is a structural residue of a live system.
The QR punctures the surface and opens into an ongoing simulation.
This is not augmentation. It is system leakage.
This painting is not a reinterpretation. It is a structural residue of a live system.
The QR punctures the surface and opens into an ongoing simulation.
This is not augmentation. It is system leakage.