My work focuses on the creation of hybrid art forms. I view
these forms as an extension of the space of theatre; not as
a mere spectacle of emotions, but hybrids so far extended they
have been separated from the original. These forms retain characteristics
of theatre by exploring the notion of language as an incantation,
where relationships between disparate elements act to reveal
a hidden, imaginary and persistent cosmology. My work functions
as a conduit that spans physical and virtual spaces imbued
with the intimacy of a Chinese scroll painting – the
surface of which is akin to a vast electrified book powered
by words, images and sounds.
Regarding Collection
To me, the creative process requires collection, experimentation
and observation among other aspects. I collect objects (both
physical and abstract) for incorporation within my work and
have become increasingly interested in learning more about
the nature of collection within my art practice. Focusing on
collection has generated a range of inquiries, which are also
points of departure within my work:
Perhaps there are objects that emit a certain frequency
or invisible signal
that in some individuals may cause a quivering of the
skin or the awakening of an atavistic sense of smell that
demands the predisposed to respond. Or, perhaps these objects
represent something that has been lost – only in this
case what the something is has also been lost and makes the
matter that much more difficult. Thankfully, the collection
process allows one to sift through objects until both what
and where are instantly and simultaneously known. Or, perhaps
these objects have some quietly haunted center that whimpers
out and by luck or some unknown magnetism I am drawn to cross
paths with them. Of course, perhaps it is merely a sympathetic
magic applied after the fact – but like Cornell or Ernst,
perhaps this sympathetic magic is a worthy source for creative
alchemy.
It has become apparent to me that there is something unexplainable
in the collection process – something intuitive, bordering
on the prophetic. These lines of inquiry have led to an understanding
of the moment of collection as one in which objects are caught
from oblivion. As objects slip across an edge between
worlds, I imagine that edge to function much like the depths
of the seas. Objects are released and slowly float downward
until they are beyond reach. Collection occurs
during that
brief time of slippage between worlds. Thus, a great deal of
serendipity enters into collection, but also patience and a
nose for the hunt. This is exactly
why certain metaphors for searching and collecting are important
to me: like dowsing, stargazing or fishing – because
there is something about my curiosity which
|
 |
dangles about like
a hook on the end of a line patiently catching on various bits
of universe which float by.
When I collect, I don’t often begin knowing exactly
what objects I am looking for, but I am often drawn to imagining
that I am supposed to collect them. I may
find objects
that instigate or inform what additional items I should be
looking for. Many times I may find an object and retain it,
yet be unclear about its specific purpose – so, I bring
them into my studio and allow them to reside. I may set them
down, place them in boxes, organize, scan, photograph or even
label them. I may break them, but not usually. I will often
leave them for a period of time so that they might transform
from a previous existence into an element within the greater
collection – a type of fermentation. At this point, the
objects are at their maximum potency and are ready to be used.
Again, keep in mind that an object can be physical or abstract:
if I collected a bone, the object can be the bone,
an image of the bone or the name of the bone or the sound of
the bone or the relationship between the bone and other objects
within my collection or even relationships between relationships.
Regarding Technology
I use technology in my process of creating work and I define
technology rather widely, incorporating scanners, cameras and
programming languages to fishnets, dowsing rods and hydrophones
(among others). Very often, I incorporate technology as part
of the work itself. Hybrids may take many forms and include
many elements: they may be virtual, physical or both. Distribution
may involve machines, networks or devices, but it is not limited
to them or by them. There may be modes of interaction, reaction
or none at all, and a single work can potentially incorporate
each of these methods in varying degrees.
For me, creating art with technology is about rethinking
its use, creating hybrids that are not so easily explained
or pigeonholed. This is precisely what is attractive about
working on hybrids to me:
they defy classification
and must be met on their own terms.
Without a lexicon or
prior conceptual framework to draw upon, the ideas must hold
themselves up all on their own. |
|
