I like to think in terms of circuits and experiments, rather than permanent installations.
An intrigue with the often unseen, yet valuable ‘left-overs’ generated by an outcomes-based art process has become the basis for my current approach.
A more process- and event-orientated approach allows for the exposure and exploration of societal structures and patterns in my work. I like to reflect on the interactions that are necessary for the manifestation of the art we so love to frequent and collect, deconstructing these systems. It’s not so much about the final product as it is everything in between.
I view my work as a token of an event or exchange.
I document details of stories: the process of creating a work, personal stories, the stories of objects and artifacts, artifacts and identity. I engage real and imagined moments.
I explore and subvert notions of value, quality and success. I am intrigued by our ideas of identity and sustainability in relation to the human condition: fragile, temporary, limited, incomplete, becoming. I seek new discourses to speak about old things; alternative models of thought in maps or sculptural form.
I am drawn to “materials that do not intimidate, a format that doesn’t dominate, a device that does not seduce” (Hirschorn.) Hence paper scraps, tape, photocopy prints, ink, pencil, wire, found objects. I am moving towards text, sound, and video documentation as well.
I experiment with display, framing and layout, subverting hierarchies determining how work might be ascribed value.
I always aim to reflect on the purpose and formal structure of the hosting institution as I work towards my concept and execution.