Through an overlaying or process-based combination of the methodologies of poured abstract painting and pop art signs, I examine the relations between the exploratory act of creating paintings, their context and presentation and how that includes a relation to digital and virtual images. The intention is to discover how, through the ontological act of making, contemporary abstract painting becomes a material activity that co-exists with and reflects digital representation. By encompassing embodied gesture, form, colour, line, chance, depth and opticality, the disembodied digital is referenced by the absence of hand-gestured expression with the use of stencils and clip art alongside industrial processes and materials; flatness, layering, household paints, varnishes, spray paints and more recently, digitally reproduced photographic images. The stencils and clip art are sourced from the internet; digital symbols, emoji’s, vanitas skulls, dice, flames, words, decorative flourishes, brush-marks, etc. (with attendant art historical or popular cultural meanings). The photographic images depict the materials and objects used in the construction of the paintings and all the materials and working tools are purchased from utilitarian sources. www.michaelstubbs.org