Flin Sharp’s practice explores the physical and conceptual history of images and image-making. Through processes of erasure and accumulation, paintings develop as stratified compositions in which fragments of previous marks remain visible, recalling the instability of memory and the persistence of images over time. Sparse gestures and translucent layers invite a mode of looking that oscillates between recognition and uncertainty.
Winnowing (Kozyrev Mirror) draws on the speculative design of the Kozyrev Mirror, an aluminium spiral chamber developed by Soviet researchers Vlail Kaznacheev and Alexander Trofimov as an attempt to transmit thought and memory through what they described as “time-energy.” Rather than illustrating the device, the work adopts it as a metaphor for painting itself: a surface where images are continually received, erased, and reconstituted through acts of looking, remembering, and projection.
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