The works from Painting the Subconscious are Lisle’s first experiments with painting in 3D using fluid simulations. They are of a conceptual and imaginary subconscious, which aims to reflect the imperfection of reality rather than aesthetic perfection. Visual imperfections and glitches, are to Lisle, the digital equivalent to drips and gestural marks.

As the collection title suggests, Lisle's practice depicts his own or the collective subconscious. The collection is also an interrogation of digital time-based paint and the nature of fluidity.

The subconscious is a mysterious, invisible part of the human psyche; it's the deepest part of our being, it can override our thoughts and actions as it wishes.

"Until you make the unconscious conscious, it will direct your life and you will call it fate." "You are what you do, not what you say you'll do." Jung.

"Abstract painting doesn't just disappear with the advent of digital technology; in a way, it's an opportunity to have a fresh look at it. These animations are technically challenging to make, yet they are pretty simple in practice. Make a 3D paint stroke and change its behaviour/parameters to create an imaginary paint that can't exist in reality but can do anything you want digitally. David Hockey has made everyone in the art world realise that painting with a digital brush is still painting. Digital painting in 3D offers the artist a far greater scope than conventional physical brushes. In advanced 3D animation systems, it's possible to dive into the programming and make your own brushes. And here, it gets interesting as there is no end to what a digital brushstroke can do or be. And when you make a brush stroke animated, it becomes time-based and adds a whole new dimension to paint, where process and transformation have a narrative." Thomas Lisle