If in A Rocco Din and Jiggery Pokery specific notes and image movements are synchronised, in contrast in Kisser what was sought was a single long evolving durational interplay. To achieve this granular synthesis was applied, using Artmatic to slowly atomise the well-known image of Marilyn Monroe into a cloud of smoking pixels, whilst a Max patch causes the soundtrack to evolve from simple tones into a complex chord. Once suitably broken down, both music and Marilyn gradually reform to their original state. The close binding together of sound and image inevitably has a certain synaesthetic quality. In Quadrangle, in order to offset notions of Whitneyesque harmony, the arbitrariness of synaesthetic relationships was foregrounded; here, the intention is different, for Kisser actively seeks to draw the viewer into an immersive moment, before emerging or exiting, as the image reconstitutes itself. In other words the “path of least resistance”, and the quest for sensory sublimation are both momentarily given in to, and then the process reversed.

Screened at: The Back door, Melbourne, Australia (2009), Memorial Art Gallery, Hastings, UK (2009), London Animation Club, London, UK (2013), Altered States, Electro Studios, West St Leonards, UK (2015). A one minute version was selected for One Minute Volume 2, screened at: Gallery Space, Cow Lane Studios, Salford, UK. The Big Screen, Hull, UK. Marseille Project Gallery, Marseille, France. Red Gallery, Hull, UK. Roxy Nod, Prague, Czech Republic. Directors Lounge, Berlin, Germany. Artprojx Space, London, UK. EXP24, Victoria Hotel, Leeds, UK. (2008 -09).