The artist and architect Hadrian Predock works on the interchange between painting and architecture. His art practice serves to illuminate questions surrounding architecture from outside of the medium and discipline, generating new understandings and liveliness through art making. Engaging the periphery of what helps to constitute architecture and architectural practices, Predock works through painting to reveal and enhance the suppressed and marginal content of architecture. This work includes subjects of digital representation, architectural props like figures, furniture and landscape, specifications/instructions and through self-reflection on his own architecture practice. This content overlaps with genres of painting including the figure, landscape, portrait and geometric abstraction. Purposefully engaging tropes of representation from painting, architecture and digital culture, Predock’s work seeks out new vitality for neglected architectural subjects while energizing the space between painting and architecture.

Predock’s work on analog versions of digital image production extends from the acknowledgement that images are now overwhelmingly constituted by signals and electronic picture elements with infinitely revisable bits of data, and that computational aesthetics are now the dominant mode of image production. In his paintings, the immaterial signs of the digital (electronic color) are translated into the material signs and terms of painting (analog color). Chromatic fields of planes, lines and points become his system for analog image making. Fundamentally underlying Hadrian Predock’s artwork is an interest in the construction of images being like construction procedures in architecture. Through the translation of architectural subjects and images into paint, things are re-coded and new proximities are made between architecture and art.