The underlying foundation of Forrest’s practice lies within the appropriation of ‘work’, wherein, she re-forms types of labour (physical / mental, skilled / unskilled, productive / unproductive).
Reconfiguring digital forms of labour, as matter, Forrest does not aim to figure things out or work towards a resolution, but orchestrates environments that are a continual work-in-progress to activate shifts in thinking, with the potential to impact perceptions, beliefs, biases, technological infrastructures, and the re-formation of the currency of labour.
Forrest’s latest works take a ‘psycho-techno-archaeological approach’, wherein, she prises-open the black box of complex systems to unearth internal processes. Breaking down grid structures in the attempt to form an emotional relationship with algorithms, she rebels against the ideological and antinatural symbol of order, by rendering playful connections and jarring upheavals produced from a mashup of data (playlists, poetry, prose, facts, hearsay, and the odd advertisement) and generating a loosely formed referencing system, using colour-codes and word-associations to navigate her laborious tasks and spontaneous reactions.
Forrest’s series of diagrammatic drawings and reconfigured models move between the confined and the infinite, the immediate and the abstract, and across space and time, in which, she appears to be on a quest for rationality, to reach a universal language.
It could be said that the overarching principle centres around a mattering of incoherence, in which, Forrest curates constellations within installations, as a form of inconclusive language.