To stay. You
may stay or pass
on through or
Existing on different planes and sliding windows, images and the apparatus of viewing them create structure and syntax that slips just as with the nature of any understanding. Opposing didacticism, I want the language to be involved and involving, where words say as much or little as images. I have realised the importance in a flux in the frameworks of reading, and the point at which misunderstanding [or perhaps, alternate understanding] become very valuable - both as a maker and spectator. I have configuring material and apparatus to develop a mode of reading, both of the work and mirrored back at oneself. Existing in between these planes is where the work lies, never quite settling on solid point of reference or a desired reading. The trace of something there yet barely seen becomes very important; finger markings on perspex or tape holding together what could be better constructed, or handwritten scroll on the underside of technology. The capital is not in laborious construction, but perhaps in the understanding that the spectator and myself can freely exist with uncertainty, whilst grasping onto the borders of the framework I have set up. As a result, these configurations become about an exchange - what best way can I possibly gesture to those whom encounter my work, and let the images flirt with one another. Conversations, films, sculptural landscapes have all been framed to mediate exchange.
Technologies and interfaces become positions where software applications - holding sound, video or text - can materialise from their digital realm. Within the structure of my work, they never become end points of communication as with the cinematic or gaming frames, but instead become punctuation in this sculptural language. I see the screens and the audio devices as marking points within these sculptures, allowing a sense that digital technology is only just as important as anything else - and we must accept it into our world, because its already there. So there is a synthesisation of seeing these pieces of hardware in a different contextual environment; one that I have created. We re-develop our language and framework of understanding accordingly, and my work is currently positioned in welcoming uncertainties and just allowing them to be. Taking objects and signs and structures from the world, both digitally and physically, I regroup these and learn the syntax they create, out of which I can sculpt a language that speaks of a presence.
Exchange within community operate as a skeleton for the work - drawing images from communications with my own position within a community, but also in a larger sense, understanding how these image form relations themselves. Email threads, playlists, bookshelves, albums, cables and interfaces act as a means of together creating a sense of an undefined border, but the knowledge of a parameter through their language. So as with any ‘group’, we are not sure where it starts and ends, yet we can understand it as a whole. I like that edge where flex and plasticity can lie and thrive - where borders no longer matter, but what we understand can still exist and be talked about.