TIMES, TIMES, TIMES, TIMES is a durational painting project that confronts the aesthetics and absurdities of digital media through the physical labor of daily painting. Based on images from the New York Times website captured and painted each morning at 9 A.M., the paintings examine digital news images as both artifact and agent of the broader informational nexus that defines contemporary life: the internet. A series of failures animates the works. There is, first, the failure to keep up: the impossibility of matching the velocity of the news cycle through the labor of painting. Each image has passed into obsolescence by the time it is rendered in oil and pigment. The paintings become belated before they are even finished as a consequence of how quickly digital information slips into the archive of forgetting.

This leads to another contradiction: painting, a physical act anchored in space and time, attempts to grasp at something that exists without a body. The digital image has no surface and circulates frictionlessly without pause. Painting these ephemeral fragments alters the nature of the information. They become not revelations, but echoes. The project is caught in a paradox: in trying to escape the spectacle, it risks becoming part of it — another simulacrum, aestheticized and consumable.

Yet, in these contradictions, the work finds its charge. The tension between the labor of painting and the ease of digital circulation throws into relief the conditions of our media environment: disposable, speed, and profit-driven. The paintings, accumulated in physical space, strike anxiety through density and numbers, reflecting the vastness of the internet. They do not aim to clarify or explain. Instead, they register the aftermath of looking. Suppose the news machinery is built to erase memory through repetition and distraction. This project insists, however provisionally, on remembering — not the specifics of what happened, but the lingering trace that something did, and that someone paused long enough to see.