A recurring concern of my research is the ontological, political, and social impact of emerging digital technologies, arising through their early adoption in the formation of an expanded painting practice. Through sustained interfacing with the more materially grounded aspects of painting and sculpture, these concerns have developed into a method of critical inquiry. This has led to expertise across a wide range of hardware and software, whose technical capacities have, in turn, prompted an ambition to explore new territories while maintaining a critical dialogue with more traditional methods and approaches. Informed by Foucauldian thought, my research considers how digital processes condition the production of images, knowledge, and power. This has resulted in funded multi-media research outputs and exhibitions including Hyperinflation, Tate Britain; Grandes Et Petites Machines, Spike Island, Bristol; Illegitimi Non Carborundum, LGP Gallery and BBC Television; and Potemkin Funktion, Talbot Rice Gallery. More recently, this methodology has been developed and applied to a critique of bio power in response to its increasing propagation by corporate interests via the scope creep of wellness and aspirational wealth industries. Within this context I am examining the role of self-engineering and branding in the co-option of subjective agency by neo-liberal ideology. Initial outputs of this research were disseminated through the exhibition Function Creeps, Kendall Koppe Gallery, Glasgow. A printed publication and film are due to launch in June 2026. This increased diversity of research, through the targeted integration of different fields, has led to alternative critiques of commodity fetishism across the practice as a whole, while fostering creative dialogues with a diverse range of practitioners. To date, this has resulted in opportunities for collaboration, performance, talks, and exhibitions at significant national and international venues. My most recent project, Resuscitations, reorients these concerns through a site-responsive investigation of landscape, memory, and class identity. Using distributed artistic methods, it seeks to develop new ways of reading classed landscape as a lived and contested social field, while testing how the intersection of virtual, material, and embodied space might render marginal environments, and their embedded socio-political and historical conditions, more visible, experiential, and publicly legible. Parallels with the research project Alias Domaines, co-investigated with artist and academic Sukaina Kubba, are also being examined with the intention of developing points of intersection and incorporation between these strands of inquiry. Alias Domaines explores non-roots-based theories of identity, including Édouard Glissant’s Poetics of Relation, in order to reflect critically on relational rather than roots-based identity, particularly in light of the co-option of rhizomatic structures within contemporary precarious capitalist conditions. Through the study of the extraction, packaging, transport, and trade of cultural artefacts, as well as the role of capital and trade within ultra-national territories such as shops, planes, oceans, islands, and space, this research establishes a framework for both physical and virtual outcomes. The aim is to develop original methods of practical and theoretical application within fine art disciplines. www.craigmulholland.com www.kendallkoppe.gallery