Tomas Harker’s paintings address the nature of meaning in conditions of mediated experience and hyperreal saturation. Sources are treated indiscriminately of hierarchical values, collected from varied systems of image production and distribution. These include film screen shots, iPhone photos, art history and social media. The subjective and physical presence of painting is used as a means to interrupt the groundlessness associated with the sense of continual semiotic free-fall. Complex histories behind images are drawn upon, exploring new sets of associations. The paintings are often ambivalent or foreboding, they resist easy travel as non-linear narratives are subsequently created.