A world we have not-yet-seen but already know
A desire to acknowledge our uncertain futures and an understanding that we urgently need to reimagine new ways of thinking and being lie at the heart of my practice. Disability and post-traumatic growth, outcomes of surviving local flooding, are also fundamental to creative decision-making. In absurdly small ways, I am compelled to offer practical tactics for survival or propositions for a better, not-quite-familiar future.
My approach to art-making has evolved to become a series of investigations into the posthuman predicament. Underpinning this is an understanding of today’s historical moment in which all matter, mapped and commodified, and with a shared unknown future, is united. I see today’s generation as caught between being in the dark, being culpable and being ambivalent.
My response to this view of a displaced and dismantled subject human, manifests as insecurity, collapse, and futility as well as an aspiration to point to political and social transformation. Subjectivity and community are not the prerogative of human but emerge from the assemblage of human and nonhuman. What has come to matter in my work is mutuality and inclusivity in the broadest sense.
I like to work with materials and locations which have little or no perceived value. Found materials, everyday ephemera and the in-between sites in our surroundings that are overlooked. The significance of these, regardless of their aesthetics is their wider invisibility.
Research, structured experimentation, and a continuous process of assemblage fulfils a desire to embrace the notknown. I am looking for situations in which all elements become dependent on each other for the work to function. Intra-connected they become united and active agents in the creative process and in the work itself. They reveal themselves in new, unexpected, or forgotten ways. This is a proposition for inclusivity in the broadest sense and I want to make clear that the work is as much about the invisible as the visible.
My interest in how the work engages and affects the viewer and how meaning emerges from this, is positioned within the current discourse on new materialism and theories of affect. I am contextualising my position with writers such as Jane Bennett and with the political theorist, Brian Massumi. Massumi states that to affect and to be affected is to be open to the world and change. It is this conceivable change he argues that makes affect immediately proto-political.
Each work is transient: an iteration of a previous solution to the space it inhabited and as such it is constantly evolving. In creating temporary experiences of a notknown place in which all elements are dependent on each other, I am remembering that day-to-day life is contingent and that the natural and the human are co-factors in today’s disasters.
Last reviewed Jul.21