Works in which matter, stuff, things, concepts, performances, images, etc. might strike the viewer as being of uncertain ‘meaning’. This might involve combinations of objects/words/stuff/sound/ gestures that suggest unresolved conversations/interaction. Thingliness, objectness and materiality, the human body/human being as a minute portion of a larger totality rather than at the centre of things. That which is not yet known/uncertain.
My explores the social interaction with digital technologies; the effects and use of mediation, manipulation and the information overload on the individual. I engage in a critical discourse surrounding the man/machine dichotomy through dysphoric digital works. Generating refined chaos that amplifies the interference to find harmonies in the feedback. By exploiting mechanical fallibility to abstract the objective, I distort the subjective, and undermine the perceptive to query the speculative. With a relentlessly frantic curiosity, I capitalise on contextually informed conceptual aestheticism in order to produce a dynamic multitude of works, provoking stimulating debate and discussion.
My campaign to be SU president has been taking up much of my time, working with Alex and Jeanette to produce all the promotional materials and the manifesto, as well as putting together a video, and beginning canvassing with posters and flyers.
I have been assisting some of my peers with their work recently, having done photography for Henry & Neil performing as Lazer Blades at the Arts Centre, as well as documenting Filipa’s Reading performance, and offering technical advice regarding video work. As well as setting up my own pop-up installation in the student gallery featuring my M1 video from last term displayed across 3 CRT screens, on a landscape low-lying plinth (which was only running for around an hour before I dismantled it, so Filipa could begin her performance, as I was borrowing some of her installation space).
Though I did not much time to plan it, the EchoReFlex Event when fairly well. I had to re-edit the video to synchronise the video flashes with the audio, but that worked particularly well when combined projection feedback. The whole room pulsated with green light, the audience mostly stood by in spectacle. Nevertheless, one person participated directly at length, and joined in the individual dancing. My isolated rhythm perforated those in the room though their passivity, and we all moved in harmonious oscillation, defying isolation; unity through spectacle.
Following this I have been testing different combinations of footage; mixing riot footage featuring police officers in high visibility jackets offset by my performance. As well as making plans for displaying multi-layered footage, using two sides of a projection screen, and/or custom made projector cabinets that contain multiple pieces of equipment, that would only expose the necessary compacts (lenses) when installed, but could have a hinged panel to adjust cables, turn things on, et al. Sketching helps to clarify ideas.