CHRONOFRACTURE: PAINTING AT THE SPEED OF LIGHT
THIS IS NOT A PAINTING VIDEO
It’s a rupture. A burn. A detonation of time.
Last week I hit the streets with a pochade box and a mission: catch the landscape in motion before it escapes. I painted fast. I layered hard. The sun was blazing, the wind didn’t wait, and neither did I.
Then I smashed it all into a time-lapse and threw drum and bass at it like gasoline.
What came out wasn’t just a “process video.” It was Marketing painting as marketing, yes but also painting as performance, pace, pressure. The kind of thing that doesn’t sit politely on a gallery wall. It moves, it glitches, it pulses.
I used every colour filter I could. Saturation jacked. Contrast fractured. Scratch overlays grinding the frame like sandpaper to the eye. This is art documentation in attack mode.
The work featured in the video is part of my ongoing outdoor campaign a weekly assault on stillness. Some days it’s gouache and heat haze. Others it’s acrylic and sweat. Always chasing the idea that a painting should feel like it’s still happening.
I reject the static. I reject the still. The Earth doesn’t sit why should the canvas?
This isn’t about perfection. It’s about velocity. Blur. Noise. Colour as confrontation.
• THIS IS NOT A PAINTING VIDEO
• It’s a rupture. A burn. A detonation of time itself.
• The canvas doesn’t just change-it explodes.
• Last week I hit the streets with a pochade box and a mission: capture the landscape in motion before it escapes into the void.
• I painted with the urgency of someone stealing fire.
• Layers colliding.
• Pigments screaming.
• The sun was blazing, the wind was relentless, and my hand moved like lightning across hand-made panels prepped for war.
• Then I smashed it all into a time-lapse and threw drum and bass at it like gasoline on embers.
• What emerged wasn’t just a “process video.”
• It was PARKETING-painting as marketing, yes-but also painting as performance, as pace, as pure neural pressure.
• The kind of artefact that refuses to sit politely on a gallery wall.
• It moves, it glitches, it pulses with the heartbeat of a digital beast.
• I weaponized every colour filter at my disposal.
• Saturation jacked to hallucinogenic levels.
• Contrast fractured like broken glass.
• Scratch overlays grinding against the frame like industrial sandpaper to the retina.
• This is art documentation in full attack mode-a manifesto written in pixels and paint.
• The work featured in the video is part of my ongoing OUTDOOR ASSAULT CAMPAIGN-a weekly strike against stillness and tradition.
• Some days it’s gouache catching light rays as they slice through city haze.
• Other days it’s acrylic and sweat, bonding under pressure.
• Always chasing the radical notion that a painting should feel like it’s still happening long after the brush stops.
• I reject the static.
• I reject the still.
• I reject the passive.
• The Earth doesn’t sit-why should the canvas?
• Nature doesn’t pose-why should art?
• This isn’t about perfection.
• It’s about VELOCITY.
• Blur.
• Noise.
• Colour as confrontation.
• Medium as message.
• Process as provocation.
• The future isn’t coming-it’s already here, spattered across my panels and burning through your screens.
• ChronoFracture
• FuturistPainting
• ArtAtSpeed
• VisualAssault
• ProcessAsPerformance
Keywords, futurist, plein air painting, time-lapse art process videos, acrylic painting on hand-made panels, digital manipulation in contemporary art, dynamic art documentation techniques, modern futurist art movement, experimental, painting process, fusion of traditional and digital art, art as performance documentation, high-energy visual art techniques,
All paints are Jackson’s Professional Acrylics chosen because they get out of the way and let the colour scream.
- Teal Green – like industrial ocean light
- Yellow Ochre – scorched earth vibes
- Van Dyke Brown – the good kind of grime
