The essence of Hopewell’s painting practice is located within the movement of the body & in the act of performative time. Most recent paintings are focused on non-representational forms & process, working with the simplicity of monochrome gestural compositions. These works are about reaching a point of purity, through stripping down learnt techniques & allowing chance to predict the outcome. Nowhere is this more relevant, than in his current ‘Remote-ism’ works created in the 2020 summer lockdown. Here, the notion of painting with resistance questions painting’s specificity, as spray cans are rolled freely across raw canvas, leaving tracks & traces. A democratisation of this unorthodox medium. Past gestural works also explore colour language, and Hopewell’s ideas concerning ‘extension & motion’ theories. By using simultaneous & subjective colour contrasts & assimilation of interspersed colours, the works invoke physiological effects & time delays. In these paintings, Keith explores the synesthetic relationship between visual perception & sound frequency.