Making forever  as resistance


painting is colour

a bloodless way to grasp the world




48x48in, acrylic, 2007

48x52in., acrylic and crayon, 2008

48x48in., oil, acrylic, crayon, 2016

Homage to God


Burghers of Khartoum

48x48in., acrylic, 2004

48x48in., oil, 2008

48x42in, acrylic, gouache, 2009

drawings and notations

Drawing is a foundation

I owe it everything

tally, figure, reckon, and play

in drawing



Launch Point


Reciprocal Lattice Recursion

Music notation for "4 Suns"

Above this text is a selection of drawings which emerged from a longstanding preoccupation with music notations.

A music notation is a kind of tally-sheet; they are documents of events and processes, describing a future of performance. They are true “space-time” drawings, with the value-added capability of play-back.

I have done extensive work with the ideas embedded in music notations, and have designed and implemented several graphical music-drawing methods.


For example, see my Soundcloud "Isometric Projections."


Or see "Interference," a notation for silence in the voice, for silent singing

Ut Pictura Poesis: drawing into space

This project will use LASER to create the largest drawings ever made, in pursuit of something impossible.

The full scope of the project can be read at Project Anywhere.

See the Facebook event page for more details.

See me present the work at this conference in NYC in late 2016.


In 1735, the mathematician Leonard Euler presented his solution to the problem of whether a single continuous route could be plotted to cross each of the seven bridges in the Prussian town of Königsberg just once. His “back of the envelope” solution used the simplest of mark making-strategies: Euler did not actually cross the town’s bridges, rather, he used them as characters in a scheme, re-casting their multi-dimensional physical connections in terms points and lines, on paper. This graphical reconstruction introduced the possibility of inductive reasoning into the problem, and ultimately has led us to an expanding world of diagrams – simple schematic drawings with applications beyond mere theory.


But what if such a working graphic has as its target something that is simply incomprehensible? What are the upper limits of the denotational logic of such diagrams?





David Griffin (born Kingston, Jamaica) works with certain difficult craft skills, regulated by impatience and vexatious digital tools, and enriched by writing in dynamic relationship with those working methods.


I have an unhealthy relationship with belief, and specific beliefs in particular. I approach the most important things from the perspective of the 'Pataphysicist, for whom nothing is something.


The art work has recently focused on music notations as true space-time drawings, allowing users to bridge the visual and auditory arts, and sing without making any sound.


The paintings and drawings have been exhibited locally and internationally, and I have published articles in a number of journals, most recently in the MIT Press’ “Leonardo Journal.” I have also presented scholarship at conferences in Canada, the USA, the UK, and Australia. Insecurely employed as a Lecturer at OCAD University in Toronto, I hold a PhD from the Glasgow School of Art (2012), an MFA from The Pratt Institute (1999), and a BFA from Parsons the New School for Design (1986).


For information on scholarship, art, music and creative activities, email me at DAVID@DAVIDGRIFFINART.COM





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