As a multidisciplinary artist, I have always treated a body of work as an installation in an attempt to circumvent museal decontextualisation, using the space itself as a part of the exhibit. Coming from painting, a natural evolution towards installation and sculpture became a means of giving more depth to the worlds created. The present work focuses on worlds mirroring our own, permeated by mirages, distorted memories, haunted by hidden intentions; symbolism taking flesh and an independent will. The viewer is presented with a tangle of human-like decoys busy in obscure and unnerving behaviours, obsessively touching and facing silent obsidian oracles, while spilling rogue energy, their body colourless like long soft shells or white worms. Keeping in mind the work of Art theorist Suzy Gablik while approaching themes of community, ecology, as well as a sacred and archetypal perspective in Art, I favour materials left behind from consumerism and human activity, such as discarded newspapers, conference room notes, trimmed branches from council hedge cuttings, worn bedsheets, metallic (chocolate and cigarette) wrappers. I aim to reactivate the sacred aspect of these materials.
In parallel, the paintings and 2-dimensional parts of the work, positioned at the boundaries of the installations, reflects the uneasy theme of a merciless, ever evolving nature, symbolised as all powerful children “Singing the song of life and death” to the viewer, watching the endlessness of these fluxes of stimuli entering our bodies and minds, leaving our severed animal shells in a state of fragility. At present, I am investigating how this equation can be evolved away from this new and dangerous porosity.
