In a project for a medical art gallery in Nottingham, Owen Pritchard explores the permanent exhibition. 

Wiry spines and re-iterations of ever-deepening frames and views. As the human reach, and operative manipulation and application of the tool sail further into the territory of space-information, the de-mechanised landscape hangs in the neutrality of particle systems interacting as steps of protocol. In the device-space the graze, the brush and the sleight of hand ripple the meta-mediums as efficaciously as a thought.  A compass of co-ordination allows the measurement and conciliation of mediums (threads or steps of motions and the human will) and perpendicularly fractures the topological substrata of interrelations.  

Lines of code suffuse digital conclaves. Surfaces melding and overlapped with embedded objects twinkling sentiently. Tiered programming languages behave like differentials, grinding and dissonantly stirring, triggering mapped junctures like the slipping clasp of an oily window latch. Algorithmic behaviour patterns from the fluttering synergisms responsive to an input and device positions. 

In the apotheosis of an architecture (daubing a sensory paradigm unknown in a space-time as individuated) something reactive to cinematic presence is sought, and content receptacles, information paths and homages to dead medias hang translucently in the periphery. They truncate visceromatic materiality and virtuality, and suspend an anatomised contrivance of distinct reverberation and multiplicit relation  into the crumble of non-topographical form.

The devices of mediation exist in Quadraturin tinged gravity. The reams fall awkwardly, and information is separated from salivary curiosity. The organs hold their positions and remain unrotated, as the seeping future bodies lean further into compositions and inversions of immaterial meta-languages. Autonomous commands overlap and react as one, skidding cautiously past Gödelian irreality.
And so emerges the paths of protocol in the manipulation of anti-space. The universe and the painting, in all its negative pictorial demarcations and anti-morphous space develops a symbiotic soliloquy:

1.  The Search and Protocol attracts the meta-rule.

2. The meta rule bends the protocol

3. The plated, soft mesh is rigid

4. Rigidity becomes brittleness

5. Sharding

6. Shards form massy soups

• By a multiplicity of simultaneous developments 
• Corroborating a direction of thought. 
• The Oulipo of space. 
• The de-materialistic tensions being tweaked. 
• Exploiting the Irreal. 
• Punching through the slimy creases of virtuality