Coat with Patches, 2018
A coat with patches of areas of conservation, highest peaks and sites of pilgrimage.
Onion Machine, 2018
Image that is folded up to the wall until relevant to the discussion.
Dog Bottle, 2019
A bottle for a pop-up bar, influenced by another artist in the show.
My enacting of artwork starts with a path of least resistance, the simplest realization. But then, I habitually hide and obfuscate the content of the artworks. I make work that is visually and thematically inconsistent; there are no materials, techniques or strategies that are a priori valued more than others. But there are consistent topics: food; teeth; coins; bottles; ducks; dogs; fans; clothing. I believe an artwork lies in the enactment, not the declaration. An exhibition becomes a chance to fold up the images to the intractable walls, or to drown out dialogue with noise.
I recognize that my work does not exist on its own, it is always a response and presented in a context, even one I may not have control over. Therefore I end up with methods – cosmically, telepathically, illusory – of art work making, and of collaborating with others. I try to make the world more complicated. I try to show inconsistencies, ambiguities, and posturing. I feel that I am always in the position of discovering my own opinion. Do I want to rebel? Is it possible to critique? It’s not so far gone, it’s more like an embrace.