This practice-based research is impelled by the intuitive conviction that painting's force increasingly lies in its unique relationship with time, exacerbated by late-capitalist temporalities; for both painter and viewer. Through my practice, I ask how the slow marking of time in an expanded painting practice might be a model to disrupt, challenge and transform late-capitalist temporalities.

I explore how the slow marking of time might interrupt the demands of time alongside modes of attention, production and perception in a world muted by speed. I aim to explore painting's capacity to challenge speed, homogeneity and instantaneity

By engaging in a meditative marking to slow down and dilate the present. I extend the process through colour and making my pigments. I forage, grow and transform waste into inks or dyes, leading to actions beyond the canvas, such as walking, foraging, gardening and hoarding. These activities sit alongside other repetitive gestures–dyeing, staining, sewing, weaving, or painting lines–to imprint minimally the passage of time. Those extended processes more than create a dissonant tempo, reveal different rhythms, forms of time and engage with simultaneous temporalities.

Slowness as a methodology emerges from my approach to marking time leading to a further deceleration in contrast to the context of our current time regimes. This counter-tempo–identifiable through its difference–is positioned here as a dissident tactic to halt speed. And a probe to explore what forms of experiences, materialities and visualities might be generated.

By reflecting on the processes in my practice, chapter I defines the slow marking of time in painting. The inherent slowness of painting is remarked as exacerbated by late-capitalist temporalities and posited as the residual specificity and the contemporary force of the medium’s force through its physicality. Secondly, slowness is grounded as a methodology to disrupt acceleration while focusing on the specific methods and tactics emerging from the practice to investigate how they transform the present experience via new forms of attention and perception. Chapter III investigates materiality, the past and memory through the physicality of painting. Through processes, material constructions and materiality, I explore how the slow marking of time painting converses with the past and what forms of memories emerge. In doing so, the painting's lively indexicality is reassessed at the centre of the approach to affirm the painting's temporal force. The final chapter investigates the work's viewing, encounter and circulation to explore how this slow formatting might act and speculate on the future circulation of painting. Through their minimal yet laborious construction, my paintings are a gambit to defy instantaneity and immediacy. Here I explore how paintings might act on us, slow down the flow of information and images to generate duration (akin to the minimalist sensibilities reproached by Michael Fried) to create forms of counter-visualities and experiences.

This research stresses the temporal value and experience of painting against the context of speed. The contribution to knowledge is two-fold; this project addresses the need for a more practical inquiry into the capacity of an expanded painting practice to slow things down in the context of late-capitalist temporalities. The practice develops a slow methodology anchored in my specific approach to mark-making and materials to propose it as a disruptive model to reveal the multiplicity of rhythms and time’s heterogeneity.