I concentrate on unraveling possible meaning through the handling of materials. In this way I refuse to separate concept from object, allowing ideas to co-exist within a methodology that is practice-orientated, where problem-solving informs intention and vice versa. My work exists between two modes of thinking: the traditional conception of sculpture and installation / site-specificity; the first surrendering to the modernist tradition and the latter as a continuation of the deconstruction project - ‘the expanded field of sculpture’.
Phases could be used to describe and contextualise much of the work. They can look like red poisonous Regency wallpaper, or green velvet suburban lawns, but these phrases never fully explain what physically exists. The work relies on fragments of memory or feelings from a particular event, or several at once. The final objects are references and triggers for the spectator. These are spaces where anxiety and pleasure, irritation and lust, transition and stagnation jostle each other. The concept of duality is central to my work and an attention to detail through the repetition of tiny forms creates a feeling of obsessive thoroughness, which contrasts, with an anarchic sense of a loss of control. The inability to perceive the work as simple stable objects and the creation of a sense of frozen flux are qualities pervading in my work. Making a visual promise of movement, one which can never be fulfilled, brings the objects to the brink of a motion which would destroy them.
My interest in states of flux: as translations of various physical states and the way things flow in relation to fleeting moments of suspension is echoed in the work of Catherine Malabou, a philosopher who works with neuro-scientists. Her term ‘plasticity’ questions oppositional logic in using the term to conceive of a between-state, of the fluid and the solid. Both at once: capable of fixity, yet liable to explode at any moment; simultaneously stable and unstable. Malabou’s whole point is that we can do politics with the brain, because the brain (properly understood) can be a model for a viable political system. Her notion of plasticity offers potential for reshaping or reforming our society through trans-differentiating into new and potentially freer, more open and more democratic socio-political forms.