Since 2015, while attempting to balance two different worlds of work, the boundary between them began to blur.
Rows and columns from spreadsheets and databases started to pop-up and out of the screen. Transfigured from the digital into the physical meant the context of any data and it’s associated formulas and calculations were forfeit. And as each architecturally-scaled cell began to rise incrementally, on mass they started to become precariously unbalanced.
The downfall of these former decision-making structures left echoes of computer coded language and logical reasoning lurking between the crevices. Amongst this ruinous terrain, future consequences of adverse life events {broken hearts, financial insecurity, family disruptions} became incalculable.
Working with {digital, physical} mashups made-up using inherited skills or those picked-up along the way {building, cleaning, decorating, writing code to clean, build and process data structures} requires a withdrawal from working efficiently. Pushing technological automation tools to one side, to build in time, in which to slowly-process digital matters as matter, through ‘mattering’ my aim is to challenge pre-existing structures upon human endeavours, to envision liberated futures.
On mass, as matter accumulates and content begins to fall out of context, I take a {psycho, techno, archaeological} approach to unearth the malformed and the misinformed, and making correlations between linguistic forms and references that have exceeded themselves and their containing structures {grids, frames, sentences, utterances} I document the correlations made through permutations of colour codes and a play on words and signs. What emerges is a form of psycho-structural language that is neither mute, silent and unintelligible, nor intelligible, meaningful and sense making, but constitutes new patterns and constellations of things approaching sense and retreating from sense systematically, in the form of affective linguistic temporal events.
In recent work, cinematic split screens rupture the illusion of a frame as a seamless view of reality, while loosely made connections made between an eclectic mix of visual cues and lines from film scripts and song lyrics fall out of sync, requiring deep listening to attune to the matter in hand, or skips and shuffles, in which to find a groove and dance around the heart of the matter.
Not film making, nor worldmaking, but a complex multi-verse, in which pseudo artefacts and parallel time-strata offer alternative interpretations on wide-ranging matters that coexist somewhere between a Pompeian past and a Techno future, perhaps the overarching principle of my practice could be considered as centring around what could be termed ‘a mattering of incoherence’, wherein I curate constellations within installations, as a manifestation of an inconclusive language.