I am focused on exploring artificiality, memory and space using a variety of mediums. I think of my installations as objects devoid of time, catalogues of fragments of memories. My aim is to create worlds rather than singular entities, structures where the role of the artist becomes diluted, and use this approach in choosing to work with a variety of materials, be it porcelain, drawings, pigment, wood, etc. The projects I make are a continuation of one another, they are co-dependent and form a collective history, and my work so far has made use of space as a pivotal condition for form. In recent years, my focus has heavily shifted to researching sound and visual noise as narrative limits, loops and silence. I believe the works are somewhat ambivalent; they straddle a fine line between paintings and sculpture, they sit between two worlds and question how we see and why.
From “A Study on the Rhythmic Narrative of Sound and Silence”
It is, therefore, important for works to heavily underline this falsification, as the worlds I am building are entirely artificial, they act as pockets where reality adheres to an intimate, different set of rules.
I have subsequently questioned the use of sound in my work and whether or not complex animated structures were needed to create it, and have since gradually limited the use of materials and techniques I allowed myself to explore, in attempting to generate noise through images or through the interaction of the elements within them. As my works are heavily rooted in an exploration of memory, sound is evoked, generated artificially in an inaccurate, subjective bubble.
I believe there is some importance to the construction of a personal narrative history of works where implied silence creates objects devoid of time, where point and counterpoint become just as important for the study of the limits of space and objects. Whether the worlds I create are entirely imaginary or representations of reality, they shift according to the viewer like fragments of mirrors, and it is key that they retain this sense of flux and non-specificity, and, so far, my installations have focused on absence, either self-imposed by material limitation or form to create a tactile language.