My visual language is primarily physical and is informed by live art, ecology, feminism and psychedelic politics. Extending through installations, objects, paintings, videos and performances, my work explores moments of combined sensuality and legibility, shaping connections between felt experience and the political economy of material.
Using ready-made colour, my work draws on a popular hedonism paired with an eco-sensibility, pitting aesthetic seduction against ethical wholesomeness. The sensibility is both bogus and earnest, performative and organic. The outcome often absurd and humorous, precarious, celebratory, experimental and speculative, yet morally focused and dogmatic.
I consider an artistic gesture to be the same as a gesture of care, and the problems that this position gives rise to, provide tension and momentum within the work. Is it possible to provide a Visually Nutritive experience wholly benefitting an audience? What does this proposition ask of the viewer? What does it impose on the choice of materials used? How does it confront the romance of freedom as an art maker?
To keep my work on the move, as a foil to political preservatives, my work hardly ever appears in the same configuration more than once. My objects and interventions often contain temporary and living elements, and I readily salvage components from older work to begin new. Each named work exists only for the duration of its public appearance. The life of the work is dependent, both, on the physical presence of its audience, and on the idiosyncratic logic of each physical context. In that sense, photographic and moving image records are only ever remnant documents, and not meant as stand-ins for the work itself.