I consider my art to be an exercise in freedom.
My development as an artist has been marked by important shifts wherein one way of working met another and became a third. I maintain a hybrid art practice that draws on my experience working within the realms of sculpture, performance art, sound and the moving image. I am fortunate to collaborate with a diverse range of remarkable artists, composers and musicians. These relationships have had a profound impact on my process as an artist.
I have always made use of the human body, usually my own; it is the vehicle through which I try to understand the world. I may use it as a tool for resistance, an indicator of scale, an instrument for sound or a catalyst for change in the environment. My work is grounded in a basic trust in the body to communicate wordlessly. Places we inhabit, objects in our environment and fleeting perceptual phenomena also feed my practice. I find inspiration in daily events like bedding becoming rearranged while sleeping or a dinner table being completely transformed during the course of a meal.
Whether I am working in a field of opium poppies or the bottom of an empty diving pool, I operate from the premise that there is no neutral space. Just as a human body can mirror the physical and psychological makeup of a person, an architectural structure or landscape can display traces of its use, politics and history. In any context, I take into consideration the idiosyncrasies of that place and make interventions that are site aware.
Many of my films and installations have explored the impact of performed action on the form of sculptural matter. I view my performances as exercises that use the body as material. They often explore the limits of the body and result in actions that require both physical stamina and mental focus. In any form, my work is increasingly focused on the immaterial power of sound as a means for communication. However, it is the flux of these events that I consider to be the heart of the matter. The performance, film and sonic aspects of my work are of primary importance to me because they underscore the fleeting nature of these time-based approaches to making and experiencing art.
My development as an artist has been marked by important shifts wherein one way of working met another and became a third. I maintain a hybrid art practice that draws on my experience working within the realms of sculpture, performance art, sound and the moving image. I am fortunate to collaborate with a diverse range of remarkable artists, composers and musicians. These relationships have had a profound impact on my process as an artist.
I have always made use of the human body, usually my own; it is the vehicle through which I try to understand the world. I may use it as a tool for resistance, an indicator of scale, an instrument for sound or a catalyst for change in the environment. My work is grounded in a basic trust in the body to communicate wordlessly. Places we inhabit, objects in our environment and fleeting perceptual phenomena also feed my practice. I find inspiration in daily events like bedding becoming rearranged while sleeping or a dinner table being completely transformed during the course of a meal.
Whether I am working in a field of opium poppies or the bottom of an empty diving pool, I operate from the premise that there is no neutral space. Just as a human body can mirror the physical and psychological makeup of a person, an architectural structure or landscape can display traces of its use, politics and history. In any context, I take into consideration the idiosyncrasies of that place and make interventions that are site aware.
Many of my films and installations have explored the impact of performed action on the form of sculptural matter. I view my performances as exercises that use the body as material. They often explore the limits of the body and result in actions that require both physical stamina and mental focus. In any form, my work is increasingly focused on the immaterial power of sound as a means for communication. However, it is the flux of these events that I consider to be the heart of the matter. The performance, film and sonic aspects of my work are of primary importance to me because they underscore the fleeting nature of these time-based approaches to making and experiencing art.
