My painting practice foregrounds a relational subjectivity which superimposes material making, art historical and utilitarian decorative tropes, with the immaterial opticality of the screen. I combine a) a reframing of the historical tropes and contrasting styles of abstraction with pop art (and baroque and renaissance painting), b) interrogate the relations between the embodied, physical materiality of painting with the immaterial depth of the disembodied digital screen, and c) promote the decorative and utilitarian functions of commercially sourced house paints and floor varnishes as ‘high art’. Utilising a process-led, flat-on-flat, transparent, poured and opaque series of abstract overlays in which I embed popular graphic signs and symbols, material making becomes a complex mirroring of the ubiquity of digitised images and signs. www.michaelstubbs.org