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Abstract The paintings in White Noise are a response to temporal lighting conditions that occur at night. A discussion of sensory affect demonstrates how perception is inextricably connected to the body’s sensory capabilities such as sound and touch. By examining Maurice Merleau-Ponty’s theory of phenomenology and looking at Gestalt Psychology based experiments it is made clear that seeing whole and complete forms in the world is a product of embodied perceptual experience. I recall early experiences of being affected by light describing the optical illusion of the afterimage and then move into the everyday perceptions that inform my current painting practice. The painting studio process is examined as a beacon from which to reconcile the affecting nuances of observed lighting at night. I discuss the importance of allowing trial, error and patience to take place while making paintings to in turn seek out optimal colour relationships and shape interaction. By developing a specific painting vocabulary that responds to the colour, texture and sound associated with perceptual experiences I reconcile through the abstract process of painting how affecting experiences can be re-presented and reinvented onto the canvas.