a·n instagram feature

Five images and associated text featured over five days (2016-09-05 to 2016-09-09) on the a·n artists info instagram account.

studio & me

REVAD in the studio working on mixing analogue and digital. A chance overlap between a projected Processing script animation and a drizzle painting (LOVE THE NOISE OF LIFE) made earlier this year. Chance connections are pure gold and often trigger new lines of enquiry.

studio & me © 2016 by REVAD David Riley

forty -digit- © 2016 by REVAD David Riley


REVAD states he is 'a fidgeter of outcomes between signal and noise'. For extreme signal and little or no noise, REVAD (usually) turns to digital production. Here we see FORTY from the series WORDS USED TO DESCRIBE A QUADRILLION NUMBERS, a series of outcomes built on the foundation of REVAD's colour alphabet.


REVAD found paint at the noise end of the space between signal and noise. That is, from REVAD's perspective, paint is a naturally noisy material. By letting paint do its own thing, REVAD gets closer to extreme noise. At least that is the current premise. In this outcome REVAD has drizzled secondary colour onto a surface constructed from a recalimed framed panel covered with shredded financial receipts. The enquiry continues.

secondary noise © 2016 by REVAD David Riley

a.n blog © 2016 by REVAD David Riley

a·n blog

REVAD's A·N blog J·A·E·S (Just Another Exhibition Space) is one of several long term virtual space interventions. Here REVAD has committed his A·N blog to the single task of recording connections made. Each recording takes the form of a single word (or very short phrase) coded using his foundation colour alphabet. The blog has been growing for two years. Recently the process has included screenshots posted to Twitter and very occasionally Instagram too. The blog as exhibition space.


Sublimation Print on Aluminium
61cm x 61cm
The Experimental Drawing HUB
Commonweal School, Swindon
June 2016

Connected to Sol LeWitt's ALL IFS ANDS OR BUTS CONNECTED BY GREEN LINES. In theory, LeWitt's outcome came before REVAD's. In practice, REVAD was not consciously aware of this specific LeWitt work before he made his own. So, to say one was made as a response to the other is not exactly correct. However, the conceptual connections are so strong, the order of events hardly matters. Except (of course) from the art markets perception of value!

100 significant connected figures of pi © 2016 by REVAD David Riley


First published on the a·n artists info instagram.