I
New forms assemble as ricochets deviate laterally from impacted paint stacks.
Smothered in slimy paint the volatile architecture ripples then fractures and splays across lurid gloss surfaces. Peels of paint reveal expanses of engineered iridescence. Stretched gloss scales layers in repetition, then inverts, until gestural machine structure accumulates alternating contrast. Autocatalytic velocities default to infinite variation as aerosol dispensers punctuate chromatic junk. The spoilt paint unravels, or congeals, then disperses across finely calibrated terrain threaded through the faceted surfaces of acrylic wreckage. Partially obliterated by inaccuracy and programmed errors, multiple painterly procedures navigate the bulk math dirty systems, the misaligned geometries saturated in arbitrary colour. Focused high fidelity tech noir blends with high resolution synthetic content.
Paused paintings, decomposed paintings and on off paintings converge.
A modern compression. An accretion of complexity and possibility. Amplified and endless.

II
playpaint make paintings to make paintings.

III
Painting is a combinatory and blending system modified and diversified by edition.

The development of each painting is underpinned by pragmatism. Initially each painting requires a novel or adapted technical procedure. This is either invented or modified from an alternative procedure, or discovered by trial and error, but is necessarily limited to an approximately predictable outcome. There is a balance, or trade off, between the degree in complexity of the procedure and a plausible anticipation of the results, but this is always weighted in favour of the final outcome. A painting fails if the outcome fails regardless of the success of the procedure. Whereas an outcome which is surprising is always allowed so long as the outcome is a success. A procedure that is disappointing, but suggests the anticipation of a successful outcome, will be modified. Cheating and short cuts are ok providing the final outcome is a success. Unsuccessful paintings can be developed as hybrids, reclaimed towards new paintings. Successful paintings potentially repeated, in combination with unique, reclaimed or reenacted paintings. Any number of these variations, in any arrangement, can be combined to make new paintings. And each characteristic of a painting isolated as a component, repeated or bolted together with any other component in any combination. Progress is programmed or improvised, but the concern here is with the breakthrough of exponential potential and ceaseless novelty culminating in the most compelling outcome.

IV
playpaint was formed in 2008 as a collaboration between Michael Gittings and Damian Nelson. Damian left the project in 2015.