Since 2015, while attempting to balance two different worlds of work, the boundary between these divergent roles began to blur.

Rows and columns from spreadsheets and databases started to pop-up and out of the screen, transfigured into architectural-scale towers that would rise to incremental heights, only to collapse in on themselves. And coded language, used to query information within electronic documents, began to mediate with adverse life events {a broken heart, family disruptions, identity fraud, financial insecurity, natural and unnatural disasters}, resulting in a logic of emotions, where emotional resilience could be figured into thinking.

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, with which to slowly-process digital matters, as matter, simultaneously, the challenges of pre-existing structures upon human endeavours is explored, by processing subject matters, as matter.

On mass, as matters accumulate and content begins to fall out of context, a {psycho, techno, archaeological} approach is taken to unearth the malformed and the misinformed, and using the grid as a device to record and frame the correlations and permutations made through colour codes, and a play on words and signs, what emerges is a pattern language made-up from structurally affiliated interrelationships.

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 made-up of shadow worlds, wherein, 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.