In Bevington’s second solo exhibition with Ki Smith Gallery, the artist explores painting as a process to foster a slower and more articulate relationship to an image. Bevington’s subjects are sourced from digitally produced images often taken on cell phones or now antiquated digital cameras. The images, archived and unintentionally aged, are printed, transferred, corroded, copied over time; resulting in semi-abstract paintings which pose metaphysical inquiries of reality, memory, and perception. Through the conversion of the digital to the physical realm, Bevingtons practice asks: What is painting but a very outdated mode of image production?​

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Duping False Landscapes presents the artist's most recent inquiries into the space between the digital and the natural, the artificial and the physical, all while questioning the role and existence of painting in a post-internet landscape.