The fractured living room floor at the centre of this work is not painted as it appears to the eye, but as it is reconstructed through software: surfaces broken apart, shadows misread, depth inferred rather than known. These distortions are not errors, but records of another way of seeing - one that sits alongside human vision rather than replacing it.

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Software routinely translates the world for us - visually, spatially, linguistically - shaping not only what we see, but how we describe, remember, and understand it - the voice inside our heads. Even this text is the result of a shared process between human intention and computational language.

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The work is not about representing technology but recognising its active role in perception. Seeing is no longer purely human; it is distributed across eyes, sensors, software, and systems. The painting becomes a trace of a world already mediated - where reality is continually reconstructed rather than simply observed. Human senses now sit alongside synthetic ones: one node among many. Painting slows these processes and reaffirms the relationship between my hand and interpretation alongside the synthetic. This isn’t an image designed to reassure - it reflects the world as it is.