MOUVEMENTS (BEVEGELSENE), 2015-2018, photography, variable sizes. Exhibitions at Vérité, Grundingen 1-3, Aker Brygge, 0250 Oslo, Norway for Oslo Art and Fashion Festival, and Akers Mek in Oslo, Norway, 100 x 140 cm, Epson Archival Ink, mounted on kapa. The exhibition was supported by Epson Europe, Interfoto Oslo, and CopyCat Fine Art in Skøyen.


The Mouvements series reveals nuanced details in digital imaging technology. The images are informed by tensions in oil and water. The materiality of digital imaging technology, distance in viewing, and surreal representations in water forms are highlighted by minuscule film grains amplified after film scanning. The epistemology of water or way we come to learn and understand what water, is an ongoing endeavour. To then know what we are doing with technology, requires extended looking. The way something appears can obfuscate and reveal our relationship to the looking. Oil and water become elemental allegory for technocratic times. As Umberto Eco writes in several books on late modernity, images are read and our connections and relations are realised as a malleable surfaces. The natural beauty of the water is transformed by a hypnotic colour palette tied to screen technology. Viewing distances engage viewers in a sense of movement in stillness.


2018 Interview on Collect Oslo Art and Fashion Website





ELVELANGS I FAKKELLYS, Oslo, Norway, public installations for autumn 2018 & 2017. Elvelangs is an annual public event for all ages to celebrate the autumnal equinox on a night walk along the river. 2017 Installation at Smelteverket. 2018 dual-site Installation of Vesper Monumenter at Frysja in Nordre Aker Bydel and and Et Dypt Nett at Smelteverket.


VESPER MONUMENTER, 2018, 8 light refracting sculptures and lights with blue photo-gel filters, “Shimmer” video projection. The Vesper Monumenter sculptures reflect twilight hues while the video of background nature is projected on top. The G8 organisation and the way nature gets used on those pillars informed the temporary installation in the darkened landscape. The installation serves as a sketch of a concept for a permanent sculptural arrangement of 8 metal sculptures illuminated from beneath. The Vesper Monumenter is one site of a two-party installation. The second site includes Et dytt nett, or the contents of what one can find on the internet.


SHIMMER, 2018, single-channel video, original musical score. The video draws attention to visions of the background. The flickers of light of this background are emphasized due to the perceptual qualities in human, peripheral vision. Bringing the side-awarenesses of perception into the main focus of Shimmer Makes Light in the Periphery invites viewers to ingest the background and contemplate on often taken for granted forms in the nature of life.


ET DYPT NETT, 2018, 8 mixed-media sculptures with coloured light, Smelteverket, Vulkan Arena.












MOUVEMENTS 2015 – 2018

MOUVEMENTS (BEVEGELSENE), 2015-2018, photography, variable sizes. Exhibitions at Vérité and Akers Mek in Oslo, Norway, 100 x 140 cm, Epson Archival Ink, mounted on kapa. 

The Mouvements series looks at the materiality of digital imaging technology. Informed by tensions in oil and water resources, the sublime representations in water forms are highlighted by minuscule film grains amplified after film scanning. The epistemology of water, or ways we come to understand intelligences in water remains an ongoing endeavour. To see what we are doing with technology, invites and requires extended looking and consideration. By engaging distances in viewing, the ways appearances can obfuscate and reveal, expand and contract, engage the senses of movement and stillness through looking. The images in the series take up oil and water as elemental allegory for technocratic times. Umberto Eco wrote in several books on late modernity: images are read and our connections and relations are realised as a malleable surfaces. The mutable quality of water and beauty is activated by the hypnotic colour palette used screen technology. 

Exhibition for Oslo Art & Fashion Festival at Vérité, and afterwards at Akers Mek. The series is available for printing on metal, vinyl, for limited edition prints, custom facades for public art. Scroll down to view visual mock-ups for commercial installation applications. The artwork became part of a develop of garment designs and is part of the book: Textures & Movements. 


Installed in Vérité
Vérité, Aker Brygge, Oslo, Norway
Aker Brygge, Oslo, Norway
Vérité, Aker Brygge, Oslo, Norway
Aker Brygge, Oslo, Norway
Photography: Bjørnar Brende Smestad/@bjornarsmestad Model: Ida T/@idambt Artist: Rachel Wolfe/@atelierwolfe Top: #ArtIt/@art_it.no AD: Rudy Wolff/@rudy_wolff
Photography: Bjørnar Brende Smestad/@bjornarsmestad Model: Ida T/@idambt Artist: Rachel Wolfe/@atelierwolfe Top: #ArtIt/@art_it.no AD: Rudy Wolff/@rudy_wolff
Akers Mek, Aker Brygge, Oslo, Norway
Akers Mek, Aker Brygge, Oslo, Norway
Installation in Akers Mek




possible material use
custom malleability




Group ExhibitionEx Nihilo“, 2017, Video of Exhibition at La Macina di San Cresci , Catalogue



“In the beginning God created the heavens and the earth.” Genesis 1:1


As if out of nothing, after two years of cogitating the possibility of making an exhibition that would speak deeply of our longing for a reconnection of body and spirit, Ex Nihilo comes together embracing difference and individuality. Even though the titled, Ex Nihilo, was chosen two years ago, Pieve di San Cresci, a special place-space emerged out of nothing presenting us with the very same question, which we have thrown in the deepest void vacuum of ideas, and desires that reside nowhere but within us. Building blocks began falling into place until it physically appeared in the most magical way, building our confidences and throwing us back into the unknown. This exhibition was conceived to be a communion and an exchange among those artists, with themselves and with the space that it inhabits. The display of the art objects was designed in harmony with what is, to create what it can be. Creation, therefore, becomes a movement from inside out outside in, in the particularity of everyone’s heart.

–       Marcela Gottardo, exhibiting artist, curator, exhibition designer



Ex Nihilo installation is dedicated to putting form to an ongoing dialogue with 5 international, women artists.

In our attempts to make sense of the strength and fragility of human life, we began to speak about how things come together, take form, and from what often appears as out of nowhere from nothing.

Latin for ‘of nothing,’ Ex Nihilo installation focuses on existence, conditions of the body, and the ‘Barely There’ nature found in artwork of women.

Ex Nihilo looks at the emergent qualities of a given situation and the space from which the exchange, like 5 elements of nature, 4 plus void, the appearance of nowhere comes from a combined dynamic.

What artist Rachel Wolfe calls: “la beaux monde creatif,” is the ‘Barely There’ thing that emerges from an ongoing conversation of trust, collaboration, and witness as it forms the basis for making, it’s also an often over looked, because of its immaterial qualities. While immaterial, the ‘thing’ made from emergence is for sure not “no-thing.”

When artist Sweet Samson invented the term: “Nesslessness,” ‘ness’ the essence of something denoting quality and state, -‘less’ “without,” the state of being without state, the essence of empty, what does this feel like? Something so empty, it becomes full, full of possibility.

The question Points of Connection, Ex Nihilo continues to ask: How to make present the sense of mercurial absence, from which life force flows?

In continuing the work of Ex Nihilo, we 5 artists working together realize and expand themes of work to include ways women-as-seers historically have been made ‘Barely There.’ We take this quality into our forms, and let it inform, in a positive way together.

When we see each other, presence takes shape as an offering, a gift, and the ‘Barely There’ echo of possibility transformed into the something emergent from Ex Nihilo.

–       Jamie Grace Davis, exhibiting artist in residency at La Macina di San Cresci



Delia Pérez Salinas Tijerina

Shroud, 2017
Hand patched silk, mirror, and wig
79 x 56 and 79 x 56 cm


Mimicking the church floor considers the importance of primitivism. The conquering of countries development of their own hegemony, we now call identity. I believe humans are more ritualized than before. Black satin emphasizes mourning we are born with and how a self is in juxtaposition with pedagogy. A mirror beside the satin checkered tile rug symbolizes freedom of the underworld as our ancestors believed, the wig signifying a once lively eternity.



Jamie Grace Davis

The Bones Sculptures, 2017
Unfired clay and wood sticks
295 x 138 cm

Form and Formless, an abstraction from the core of our bodies, there, but unseen. We all share: “bones.” These are imagined bodiless bones made of clay, turning to dust.


Jamie Grace Davis

The Garden, 2017
Installation design, co-curation by Marcella Gottardo.


“The Garden” is an exploration in what artist Andre Feliciano calls “Floressiance.” By themselves these paintings are small moments of ‘nothing.’ Together, the whole experience becomes something to take in, all at once, a feast for the senses. The room is heavy in orange fragrance. 🍊


Jamie Grace Davis

Soudad, 2015-ongoing
Acrylic painting on bed sheet


“Soudad” An Arabic word, about ‘journey’ loosely translated: “to see from the highest place of your dreams.” I have been taking this painting with me to every location of Points of Connection. It has all the indexical marks from all the other paintings I have made along the way. It’s a registration. The shapes form themselves through layers of time, trust, and highly calculated risk. It’s the thing that’s always underneath all the other paintings, the thing most unseen. It has become the provisional, situational foundation.

“If I take this thing and reposition it, over and over and do things to and put it in different circumstances, when and how will that thing take on that ‘Barely There’ quality? Things that are the most discarded have this. Things that travel a lot have this. What goes into making something that has a magnetic presence no matter how simple it appears?

I’m interested in how an aura is actually formed. What is the mechanism?

Walter Benjamin wrote: “We know that the earliest art works originated in the service of a ritual—first the magical, then the religious kind. It is significant that the existence of the work of art with reference to its aura is never entirely separated from its ritual function.”

Ritual is a form of repetition, a way of participation, to build a relationship with, to belong. Ritual is transforming discomfort into comfort, discord into balance and harmony, senselessness into meaning. When I think about this as relates to dance, I think about it in terms of gesture and posture. Gesture, an action repeated over and over and posture, a fixed shape.  Posture emerges from the gesture itself, sometimes as a stop, a pause, a wobble, of its own volition. This can be applied to mark making in a painting.

All the pours, casts, imprints and registrations: are from gesture. The fixed appearance of movement, posture.

Between the two things of gesture and posture is something else -something ‘Barely There.’



Marcela Gottardo

The Language of the Sun, 2016
Ceramics, plaster, and galvanized iron
430 cm x 320 cm


Soon after moving to Italy, after living twelve years in the United States, I again became an immigrant. The burden of language, it’s limits, beauty, grace, and the continual sense of being misunderstood -even when standing in my own country, Brazil, granddaughter of Italian immigrants. The weight of the stars hit me, crush me, torn me upside-down, inside-out, fired me, freeze me as an un-programmed thermostat. Under yellow orange green brown oak trees, I walk, surrounded by ancient histories and mountains; I ponder the heart of lost civilizations buried beneath my feet. Homeland less, walking this land crushing leaves and bones, smelling blood and crying out, looking up and looking down, my littleness, meaningless existence.

While the morning dew reveals the spider trap among sweet purple flowers, the undisturbed mud beneath the water pond hides death and decadence. An accelerated unsettle heart craves more, beats thunders welcoming what cannot be possible known within words.



Rachel Wolfe

Memoria Technica, 2015
Series of 5 monolithic photographs
90,64 x 180 cm


Rachel Wolfe

Teknovisuell Experience, detail of detail #5, 2015-2016
34 x 134 cm Photograph on vinyl

Memoria Technica is a series of 5 monolithic film exposures realized as seasons, axiomatically marking the vertical landscape in relationship with the human body in magnetic resonance imaging. The monolithic image as marker in the sense and perception of passage through time.

Works in Ex Nihilo: Summer, a caustic season; Spring, a vernal pour; Autumn, a hieratic vessel.

Teknovisuell Experience is a series of 7 images. Dimensions vary relative to Architecture. Images of water emphasize ethereal qualities of digital imaging technology and engage viewers in a physical relationship with the image/vision and body/space.



Sweet Samson

Not almost nothing, 2016
Acrylic and carbon fiber on canvas
43 x 43 cm each


Sweet Samson

Ester, 2017
Aqua resin, acrylic and carbon fiber
7 x 8 cm

In the Art nothing is for sure until an attempt is accomplished.  Although, nothing is for sure thereafter as well.



Special thanks to Mimma and Duccio for allowing Ex Nihilo to come to fruition in this very special place.




9 WORLDS OF IMAGE AND LIGHT, 2017, installation, Smelteverket, Vulkan Mathallen. The concept and plan was founded between Rachel and Smelteverket and supported by Torso Kunstartikler and Smelteverket. The drawings were a shared labor between Rachel Wolfe and Katarina Caspersen.

ELVELANGS I FAKKELLYS, Oslo, Norway, public installations for autumn 2018 & 2017





Teknovisuell Experience involves several layers in the materiality of the image, systems and processes in imaging, the vision-body relationship, and ways civilisations form understandings of nature. From an empirical, materialist philosophical standpoint, the works reflect on age-old discussions between Platonic and Sophist ideas, and the places spiritual and scientific ideas are permitted. Through the emphasis on the ethereal nature of screen-based technologies, the Teknovisuell Experience Details take-up these conversations both through the processes in which they were created and in the results of the viewers interactions and memories with images. By engaging the physical body with the vision, the distance in viewing engages viewers’ bodies in the opportunity to look at processes otherwise invisible to users of screen-based technology, but evident to builders of technology such as R&D, the coder, manufacturer and marketer. The details in Teknovisuell Experience were composed of the decomposition of images up and downloaded through social media channels; 7 times for each image. The final images reconstitute a representation, highlighting the way images become a form of cultural ritualisation. By further manipulating the image to highlight degraded visual qualities, and print at large scale or clip sections out as fragments, the various installation formats available engage viewers in contemplation of the areas in an increasingly liquid society. The scale and application of the image evokes motifs and patterns found in traditions of totems and textiles. Still images applied as wall coverings, pillars, scrolls or flags. Digital gifs of the images afford exhibition on screens and move static light reflections, creating visually ghostly movements.



Teknovisuell Experience, Public Installation of Detail #5, Otis College of Art and Design Admissions Office, Los Angeles, California, 2017. The artwork engages the relationships of body & space to image technology through the clarity of perceived images. The imaging processes displace and reform pigments and images, creating fuzzy borders. The Teknovisuell Experience series represents images of water as aesthetic and ethical qualities technology raises in our societies and is part of Virtual Material conversation,

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)

Digital Image, 2015/6, sizes start at 61,04 x 76,2 cm (24 x 30in)



OMNISCIENT in Imagining New Eurasia Exhibition

Oslo, Norway 오슬로, 노르웨이
Rachel Wolfe  레이첼 볼프


The wisdom of water is the emergence of the emotional body in social practice. Water, according to the Chinese theory of five elements, serves as a symbol and material pathway to the movement and expression of emotions. Water, as symbol and material pathway for energy, is viewed in the new society as sacred to the human experience. The water is to be protected, cherished, and shared amongst people to create a more humane society.


물의 지혜는 사회적인 삶에서 분출되는 감정과도 같다. 고대 중국에서 말하는 5대 원소 중의 하나인 물은 움직임과 감정 표현의 상징이자 도구다. 과거 깨끗한 물 관리에 소홀했던 때와 달리 새로운 세계에서는 물을 소중히 여긴다. 새로운 사회에서 물은 에너지로 통하는 길이자 에너지의 상징이다. 이것은 성스러운 인간 경험이다. 그러므로 더욱 인간적인 사회를 구현하기 위해 물을 보호하고 소중히 다루어 모든 이가 공유해야 마땅하다. 물을 아끼고 존중하는 것은 곧 우리 인간 사회를 구성하는 감정을 아끼고 존중한다는 뜻이다.






Omniscient, 2015, 101.6cm x 304.8cm (40x120in), monolithic photographic image won first place by the Jury and was exhibited in the Here There and Everywhere Exhibition as part of the Imagining New Eurasia project at the Asia Culture Center in Gwanju, South Korea.

Exhibition Imagining New Eurasia























Installation with Security blanket (troubleweed), 2015, installation, Bolsky Gallery, Los Angeles, California, traveling object. Materials: Photographic print on bathing towel (troubleweed), wooden monkey, dried roses, clear plexi, twine, golden clamps, cotton bags of salt labeled “take me.” A few left with visitors to the exhibition.


The installation explores symbolic and literal functions of narrative. Symbolic objects specifically arranged to materialise ideas, or cognitive “things”: Boundary, Grief, Security, Transparency, and Choice.

Troubleweed (photographic print on bathing towel) was sent via USPS & photographed by artists, continuing the installations thematic elements: Trust, Transparency, Choice, Cooperation, Resource. The tumbleweed, as an associated symbol of the western desert, found its way into the Los Angeles River during a drought. During a time of environmental drought, the representation of a prickly ball on a soft surface continued to travel across the United States, depicted by artists in their location and within the relationship of their praxis of art and ways of living.

The traveling Troubleweed bathing towel looks at the question: Can an inanimate object traveling through space and time, via the interdependent wills of artists offer insight into the values which constitute a nation?  

After the installation transformed into an ongoing body of work, the archive became an accumulation of bodies of labor, in the time of the internet, where communication and the quality of sincerity is questioned to exist and critiqued as sentimental. The travel archive and final resting place of the work, extends the original metaphor and metaphysical propositions of the original installation.

There were no time constraints on the project. The premise of not having a time constraint looks at the line or levy of personal will. The USPS, once carried by horse and now by horse power and machine sorting assistants, still require the human as critical points within a functional system. The project works as an aggregate of an experiment. At each destination, the towel encounters photographic documentation. The act of imaging as a personal motive and labor are made as free choice.

As much as records provide proof, the archive seeks to underline the existence of motives rooted in: care, play, trust, and free-will, within systems of commodity and capital. Connecting people across Time (zones) and Space (geography), factors often considered to destroy human bonds, the Troubleweed bathing towel project reveal the peculiar value ascribed to an inanimate object is not in the object itself, but in the intangible values that constitute its traverse through Space and Time. As Douglas Adams once described in the Hitchhiker’s Guide to the Galaxy: a towel is about the most massively useful thing an interstellar hitchhiker can have.

In 2020 the Troubleweed bathing towel, hitchhiked through the labors of artists, found its resting place in Santa Rosa, California, where the towel found a home. Alas the story inevitably continues, though outside the parameters of surveillance the record of archives the traveling component of this work imposed.  



Original film image of an Ojai tumbleweed in the Los Angeles River at Culver City.



Troubleweed bathing towel photographed as hypothetical bathing towel at Bygdøy Sjobad, Oslo, Norway, 2016.





Troubleweed bathing towel by Mark Uhalley, Los Angeles, California, 2017. Mark’s Vimeo channel.





Troubleweed bathing towel by Bryan Bankston, Richmond, Texas, 2017. Bryan’s Photography page on Facebook.




Troubleweed bathing towel by Stephanie Larson, Fort Myers, Florida, 2017. @wellspringwonder





Troubleweed bathing towel by Christina Song, Chicago, Illinois, 2017. @softycreamy





Troubleweed bathing towel by Maggie Meiners, 2017. @maggiemeinersphotography




Troubleweed bathing towel by Justine Genevieve Bianco, Palo Alto, 2017.




Troubleweed bathing towel by Brett Manning, Royal Center, Indiana, 2018.

Brett’s Instagram & Etsy Shoppe.



Troubleweed bathing towel by Maren’s Celest, Chicago, Illinois, 2018.

Maren’s Instagram and her new album on Spotify.





Troubleweed bathing towel by Yulia Morris, Los Angeles, California, 2019. Yulia’s Instagram.





Troubleweed bathing towel by artist Peter Alan, Santa Rosa, California, 2020.






MAKING SENSE, 2015, installation, Bolsky Gallery, Los Angeles, CA. Text, materials, video documentation, poem and translation. The written portion of the thesis is below the image and video documentation. 

Nautical Twilight,
2015, 450nm of Tokyo blue photography gel, dimensions variable  
Salt of the Earth,  2015, 100kg of Mediterranean sea salt, dimensions variable  
30seconds of Lake Michigan, 2015, film photographs printed as digital negative triptych, 33.02cm x 48.26cm ea.  
Omniscient,  2015, 35mm photograph of Nordic stream water, 101.6cm x 304.8cm  
Sage Cypress, 2015, 29.57ml of essential oil, dimensions variable      

Creating a submersive environment of a sensual, liminoid state, this installation is composed of five elements: light, weight, time, distance, memory. 

In the interest of locating origins of tyranny, conflict and war, the installation came through arranging materials in space based upon researching the heavy water war and development of technology interfaces. Images plastered on the wall appearing portal-like under the lighting effect. Scale, light, and use of negative space creating senses and affects within viewers. Tokyo blue photography gel, typical in stage and photo-sets for creating twilight, covered light sources including the skylight and glass doors. This tonal range has been researched in neuroscience studies to trigger the cerebral cortex, where the fight or flight response is located, also found in the blue light emendating from technology viewing apparatus-the screen. Creating the experience of nautical twilight, or the span of time when sea navigation by horizon is not possible and land objects require artificial illumination for viewing. Triangulation is a navigational strategy to locate an unknown point with two known points, and used as a structure with the other elements in the room. 

The sea salt pile on the floor contained sage and cypress essential oils referencing complex histories of value construction, ideological phenomena of the colloquialism: Salt of the earth, as a factor of benevolence. Sage and Cypress oils are often used in meditation and healing modalities to evoke clear and open thought.

The monolithic image, Omniscient, and digital negative print triptych, 30seconds of Lake Michigan, triangulate with the salt on the ground. The reference to unlimited understanding and tradition in art history for narrative construction, invite viewers to consider the structure of time through the experience in the space. Viewers reported the totalising experience as soothing or anxiety inducing, describing sensations of submersion, disorientation, confusion, calm and clarity, expanding and contracting as they move through space.

A printed and folded book containing a poem translated into nine languages. On the verso of the accordion folded book, a printed image from the triptych in the installation. Visitors were invited to take the book of translated poetry with them. The Making Sense book with 9 translations, was printed on black and white on matte paperstock. The poem is a literal and translative approach to not knowing, or the kind of skillset a human in an intercontinental context may face themselves with. Transcript of poem in English below images. 

The installation engages in ongoing iterations, considering the historical narratives and concerns of site-specific geography. Image Architecture and Vesper Monumenter are iterative sites of this continued work. The monolithic image and text, Omniscient, was awarded by the jury in the Imaging New Eurasia exhibition in Gwangju, South Korea.

FullSizeRender_442 FullSizeRender3_476 FullSizeRender4_480

no noing, no is not is, here is no knowing, there is no knowing, then is no knowing, past time, past in front of time, suspended time past, past after time, mirror makes past before eyes, eyes imagine, imagine is dream, image is not imagined, image is not knowing, image is sensing, sensing is feeling, feeling is image, image is sense focus front, front focus mirror, mirror is what past seeing mirror sees past, groping sense of desire, without letters or numbers. 

Variations By and Translated To: Frida Li, Chinese; Yasmin Than, French; Annetta Kapon, Greek; Marcela Gottardo, Italian; Soo Yun Jun, Korean; Børge Indergaard, Norwegian; Edyta Czajkowska, Polish; Sweet Samson, Russian; Delia Perez-Salinas, Spanish  


The installation developed through researching communication technology and the history of the WWII Heavy Water War in Vemork, in Telemark, Norway. The space was constructed by photographs, salt, scent, and photography lighting gels to evoke a liminoid hue at twilight. The metaphorical environment created a temporary space where Axioms do not hold up in physical space or material matter. The artwork extends to include the viewer’s subjective truths where congruences exist within the material.  

The story of the Heavy Water War was revealed as I intuitively worked through the historic layers of the a worldwide trauma, seeking to find the origin of terrible actions and the ancillary events which returned people to peaceful living. By the means of following research on the properties of materials and their relationship to the physiological human experience, I was led to Vemork Heavy Water Station in Norway. I wondered if art making can serve as a site of research to 1. uncover lost details which alter the understanding of histories 2. process latent epigenetic memories  3. provide a space for deeper learning and reflection.  

While time travel and political conversations still have yet to bear fruit in daily life, I wonder if moving learning into exhibition spaces, permits (Currere) a form of knowledge creation, enabling people to fully understand not with the mind alone but through an approximated experience. Experiences that create foundational layers to inspire courage to do things  the people in Rjukan did for the course of history.  



Deconstructionist Written Thesis, Poetry, Prose &Short Essay, May 2015 Rachel Wolfe, Los Angeles, California


As a walking mass of conflictions, | may barely breathe at all. As a sensing terrain of conditions, | see. As an act of longing, | may create something of me for an Other.




ITERATIONS OF SENSE INTERPRETATION (a table of contents for continents) 

I. Within and among the contents are continents.

II. Defining sense.

III. I have nothing to say and why | want you to care.

IV. An ode to the distance of an ice mountain.

V. The deeply felt through the reception of sense data in the multiplicity of awareness.

VI. An elaborate theory for the simultaneous production of habitat.

VII. Memory as a function for the translation of sense data to story.

VIII. The transience of eternal ballerina meets astronaut beauty.

VIIII. A Hard Drive

X. Roland Barthes becomes you.

XI. All rivers find their way to sea, somehow.




Worlds. Within and among worlds are tables. Tables of contents of ecstatic and horrific continents. The unpleasantries of the peasants are present. The uprisings and revolutionaries are present. The unspoken sounds of peoples are present. The unfelt senses of the bodies are present. The worlds divided as continents. The worlds divided as countries on continents. The worlds divided as states in countries in continents. The on and the In became interchangeable.

Conquest-able, conquerable, confused. The Second World War. The Second World War stories. The Second World War textbooks. The atomic bomb. Pro-nuclear power. Cameras. Communication. Technology. Space launches. Launching revolutionaries. Hippies. Islands. Big things and small things. Matter. Voices. Noises. Politics and business. Hospitals and pills. Products and debts. Selfishness and sad. Look within, the polite ~~| don’ t have time to care what you have to say. While you are busy not paying attention to what | do, buy this thing here to cure you of that which is not me. Know no within. Nothing. Contents of desire an endless hole of goal. Longing lives upon land. Longing lives upon sea. See. Lands of we are different. Cultures. Standards. Regimes. Locations. Geographies. Topographies. The body. Feeling. The modern day sin. Sins will save you from your own doing. See the sin. Feel the sin. Sin speaks in feelings we fail to say. The failings fall. The fall. Winter. Ice. Wait. Spring comes. Spring granted. Again. The continents divide. The water rise. Ready or not. See or be surprised. See and be surprised. See. Sea.





Sense data. – Stored interpretations of information from sense-able objects, feelings, experiences synthesised through the body as occurrence. Accumulation and organization of sight, sound, taste, touch, scent-inclusive of balance, acceleration, kinaesthetic, pain, internal senses, chronoception, plant senses, animalist senses of electrical and magnetic fields, water pressure and currents.

Sense Agent. – Image as emissary. Representation embedded with sense.

Raw data. – Undifferentiated experience.

Tele – A. A prefix that means “at a distance, ” especially a “transmission over a distance, as {(n telephone, tele-therapy, television, te/ecommunication.

Tele – B. A word-forming element meaning “far, far off,” from Greek tele-, combining form of tele “far off, afar, at or to a distance, ” related to teleos (genitive telos) “end, goal, result, consummation, perfection,” /iterally “completion of a cycle.”

Telos philosophy — The study of purposiveness, study of ob/sects with view to their aims, purposes, or intentions. Teleology is central to nearly all philosophical theories of history.

Telematics – Systems invested in the tracking, documenting, and tracing movements such as in GPS. Images as traces of movements.

Transcendence -Religious contexts describes reaching ‘beyond the material. The particular interpretation of transcendence spoken of in this document addresses boundaries within material properties. Transcendence as a practical function for agency.

Pluralism – Multitudes of perception through continually available sense and contexts. An al/ times/realities occurring independently and inextricably from each other.





Art presents an opportunity to say what no one else has said but was been clear all along. To make clear an obvious paradox by working out ideas, through the wilful act of expunging concepts and visions, translated into creations for viewer experience. Language can be debated; experiences occur and become negotiable via translation to language. In and of themselves, experiences, tastes, truths, personal, deeply felt, real. The point of translating occurrences into sense is one of my primary preoccupations. In other words, the construction of stories told about the experience. Then, what is lost in that translation and perhaps arriving at a different way to commune with the experience and sharing that experience.

There is a logical coherence absent from the parts of what | create. A sort of inversion of self-denial and confrontation present, which in its totality becomes something of a truth in itself. In this way, working toward being very quiet in my art, develops a capacity to direct more concentrated experiences. The less |, as an imagined self, is present in the work, the more direct communication | am participating in, within myself, the creation, the viewer.

The principle qualities of synthesising an opposition, is to integrate the opposing perceptions into a new understanding and embody it. We are never what we think or what we feel, but what we embody. The language tolerated for describing sense experience for the body must expand. Every effort to produce a communication of the body encounters a loss in the first effort to translate the sense into words. That loss is great enough that sparks an impulse within myself to create something that will, in a way, say nothing. In the saying nothing, | am able to transmit communication in another way, through sense, and activate the viewer s senses of perception, ideology, and self. Through the ways in which humans have come to

make sense of their experiences to themselves. The personal becomes subjected to exposure, and the viewer becomes vulnerable in some way. This vulnerability allows the deposit of non-spoken communication of what | am presenting into their body. One could easily argue this is manipulative or subversive tactic, and they would be right in doing so. What should allow me to do such a thing then would be to impart a tremendous amount of trust. Trust in my personal telos. Trust my aim in saying nothing and extending an offer to wonder, question, think, sense, and feel. Then to open up a story, or historical narrative, to bring to surface the suppressed senses servicing an outside force, giving rise to the probable conditions for transcendence, or creative power. Power is not the same as force. Real power is in the ability to create, and cannot be bought or sold. Force is the pretence of power as the wilful manipulation of an Other.





In my practice of photographing, | engage in a wilful act of observation, meditating upon the deeply felt. To do so, | slip into a mediary space, someplace between pre-language and sense translation. This space mistakenly get described as an abyss, but there is much within this space-complete drives of sense data. My body services the subject, and the record, to be extended to a viewer. The photograph stands witness to the representation of the senses | encountered communing with observation through my potential other-selves as mediated by the narratives with which pass through genetic code, behavior programming, societal regulatory practices. These streams of narrative encounter a potential disruption or seeing through the act of image making.

Encounters may not be objective by practical means, and they may also offer opportunities to see what is to be seen-trading an idea or ideal for something real. Ideas about objectivity are mediated through systems of force, control, trade of commodity and information-which are embedded in the mechanical functioning of the camera itself. While the camera, as a charged object and potential symbol of the situations camera technology was created through, maintains an opportunity to allow me (or any active photographing person) to consciously and temporarily liberate the thoughts which any sense which brings me closer to alive, closer to the real.

When believed | am, and emerge with an active observation of This Real, I would describe as something more connected to my being in a body, something deeply felt, subjective and sharing with others perceived different—a wave pattern of sense data recording and imprinting upon a nervous system. In working this way, an awareness of the complexity and multiplicity of sources of histories, stories or emphasized sense data becomes increasingly available.

The idea of a point of origin now confronts substantial opposition through sense data to see the energy expended to uphold stories of singular origins as counterproductive toward creating a different vision.

As vision produces will necessitated by the principles of transience, or in a simple term: action or movement, the dynamic awareness of simultaneous multiplicities (of perspective, perception, values) has grown increasingly present in daily life through telematics. These encounters with technology offer opportunities for a variation in vision which has not yet been seen-or has been seen but not acknowledged as the receivers of sense data are not sufficiently sophisticated enough to process.

An important distinction must be made here. This position clarifies the necessity for the body to develop as a sophisticated receiver of sense data. The most technologically advanced systems are contained within the potential of the body, by compounding intellectual competence with sense and feeling-making intelligence cognitive and sensual. The motif which ties the sensual, the deeply felt, the sense data, the intellect through dynamic awareness is water.





A sensation of meaning and wholeness forms by developing an ability to select and arrange sense data in accordance with the longing the life has for the sake of the life itself. From this mutable positioning, the life synchronises in harmony with the transience therein.

The roots of the longing branch into Old Saxon, Old High German, and Old Norse language, which describe a sense of, to yearn for relating to the meaning ‘to seem, be, or grow long, hence the action of reaching out or extending toward.

The word Langian, in Anglo-Saxon, is impersonal in sound and form, with a tone of accusation toward the person who is longing-as if longing were something of a ‘wrong’ action to partake in. To say ‘| long for’, then means, ‘it longs me [of]’, what ever it may be.

Want and desire are clear and urgent, driven by force, always guided by a knowing. Longing is something that ‘happens’ between us and another thing, is not directed by will, is far from being a process of acquisition; but instead a choice for union. Longing meeting its union is experienced, feels, as a re-union. Longing is less clear, containing more unknowns, residing in the intuitive, and often described as spiritual in nature. Spiritual longing and melancholy have much in common. Something which is said as it ‘happens’ or “comes about’ relative to ourselves and an Other, cannot locate a “cause’ or origin in what the melancholy, or longing, is about or for.

Wanting requires separation from the thing that is wanted. Longing implies a distance. The distance never interferes with the connection or union, however far the subject/object of longing may be. The tension experienced through longing creates a pull, similar to that of a string across a bow for shooting arrows. The two ends of a bow are never separate, but of the same implement with which one may point the exerted force toward a target, or telos.

Art and receiver must long for an experience of sense data transmission for an experience to occur. As a creator interested in form, | make an agreement to dive into a longing within myself which finds itself situation against and with the longings of other bodies, and create from that. The final form, whether in a photograph, image, projection, arrangement, creates a union, for myself personally, for the form itself-which also contained a longing to find its union in material, and the union with the receiver which stands simultaneously personal and independent from me. For the communication to occur, a mutual longing must be there-otherwise the translation will likely fail on some level. To engage in such a risky process seems futile to a mind oriented toward production and affirmation of selfhood, but to a body possessed by unreasonable aims seems quite plausible and necessary.

Longing, as differentiated from desire, has a never ending quality, an abyss, an eternity. Desire is fleeting- an empty preoccupation as a diversion to the pursuit of creating wholeness, the real as the value of the deeply felt. As one might chase feelings and thoughts (in the mode of desire), one will encounter a ~running-out~. 

The substance of longing aches as the sense carves out a hollow to be filled. The substance of desire was always full, never empty nor having room for anything to unite with at all. Desire sits as a lighter-fluid filled brick, waiting the arrival of its object, the lit match. Poof. Just like magic, consumed before recognizing its existence. Longing, even in the event of its union perpetuates, is eternal. Longing is ruthless, continually and without reason, caring out an expanded space of more longing, with which more union can take place. This process of emptying and expanding carved lakes, rivers, mountains, oceans, filling, emptying, filling, emptying, modifying and shifting forms, melting, freezing, thawing. There can be no art without these transient qualities. There can be no life without such.

An ice mountain embodies the formal qualities of longing. In, within, and of, or embodied by the ice mountain at a distance-are the forms of water, ice, snow, slush, melt, vapour clouds, streams, hidden ponds, secret valleys formed by and contained within such forms. The ice mountain contains the secrets narratives of sense data, of earth, of human, of nature.





Heracles, the weeping philosopher, had a deep connection to the sea. The deeply felt sense of the ever-present transitory qualities of life can since be represented by water. The connection of the representation of the body through representation of the sea has material relations with the blood that keeps our organs alive. The blood within the body contains the same ratio of salt the world’s oceans do. These traces (representations) of the deeply felt emotional body connect our human bodies with the water of this world.

Heracles s contemporaries responded with laughter or opposition to his philosophy and disposition. Philosophies are not expressions of truth, but rather expressions of humours, preferences, or personality. Heracles s sentimentality was marginalised, and stories weakening the relevance of the deeply felt continued to be built upon. Tear came to be known as sadness instead of the possibility of representing, signalling, or being a sign of transience, transformation, mutability, that makes us more alive by continual awareness and caring of the

temporary nature of our lives. Condemning the subjectivity in favour of objectivity situated this attitude as a truth over time. And today with our awareness of the multitudes of truth present blows the logical mind to space.

Telematic technology invigorates an awareness which affords us physical space around our bodies. This space can become an empathic zone where the deeply felt can be explored without the direct sense of threat a body may encounter when exposed to environmental vulnerability. The imaging technology involved in creating representations about the direct, subjective relations we have to the world through our bodies-or rather the systems in which we navigate the world relative to other features of life. Through the moving representations these systems provide, we can educate our subjective relations we have to the world through our bodies.

The then take a step forward with this awareness through technologies, the revaluing of nature serves as a primary act toward a continuation of the body. Choices contain simultaneous effects in directs outward from the body, as indicated by Site A.

Site A.

Previously the desire to formulate, predict and know outcomes of choices was the choice story in the industrialised worlds. This led to great technological achievements, which had implications with interests bringing about great horrific events. Please refer to Site B. for a description of what occurs when attempts are made to solidify or merge differences of separate bodies or entities.

Site B. 

Richard Feynman regarded the hypothesis of matter being made of atoms as the most useful phrase toward humanity as follows: little particles that move around in perpetual motion, attracting each other when they are a little distance apart, but repelling upon being squeezed into one another. In that one sentence, you will see, there is an enormous amount of information about the world, if just a little imagination and thinking are applied.

Differences stand to be accepted, not through dismissal, but through consideration. Take Site C. for example.

Site C. 

Charles Krauthammer, essay in Time magazine: Perhaps the deepest cause of moral confusion is the state of language itself, language that has been bleached of its moral distinction, turned neutral, value-free, non-judgmental. When that happens, moral discourse becomes difficult, moral distinctions impossible and moral debate incomprehensible… the trouble with blurring moral distinctions, even for the best of causes, is that is can become a habit. It is a habit we can ill afford, since the modern tolerance for such distinctions is already in decline. Some serious ideas are used so promiscuously in the service of so many causes that they have lost all their power. Genocide, for example, has been used to describe almost every kind of perceived injustice, from Vietnam to pornography to Third World birth control. A new word, holocaust, has to be brought in as a substitute. But its life before ultimate trivialisation will not be long. Only last month a financial commentator on PBS, referring to a stock-market drop, spoke of the holocaust year of 1981. The host did not blink.

The sites described above reiterate there being no escape from all the qualities of ourselves as humans, but an increase in the signal for a deep longing toward a revaluing of nature and the body. The deeply felt and subjective nature of human body. We must remember our bodies inextricable relation to the conditions of the world’s water.

Traditional Chinese medicine describes the principles and qualities of water as the emotional currents in the body. The ability with which we are able to support these currents depends on the sophisticated network of neurological, cognitive, and emotional intelligence. Suppressed energy finds an outlet in one way or another, in an effort to maintain balance in the system. The telos of continuing life flow as exhibited by an imbalance in the system can seem difficult to accept or trust. A deeper knowledge of principles and qualities must be gained to guide the system toward a state of equilibrium. Overriding the principles with the aims of desire will eventually lead to further deterioration, providing conditions for disease to prosper. The more loudly the water (emotional) body talks through visible and material symptoms, the more undeniable the attention toward certain qualities is necessitated. Such can be viewed on a global capacity through evaluating water conditions of the world. The events and occurrence happening in the world, can be directly related to the relationships we have with our emotional bodies.

Certain ancient practices, such as Taoism and shamanism can become relevant today mediated through our new encounters with technology. A technological shaman, a mediary or visionary of the future can provide a useful guide toward facilitating the development of new levels of intelligence into matter. Through the efforts and innovations in art and technology, a revaluing of the simultaneous formation of body and nature habitat can be perceived, created, and appreciated.




The past, barely a memory, has not passed at all. Already a memory, the future has not arrived. The present existing as a memory of a story. To see the present for as it really is, asks we suspend stories, just long enough to see the present flying past. To be busy attending to the present, leave little time for conscious story building. Yet, the body stores records of time moving through and past us.

Stories service making sense of occurrences. What occurs shares much in common with that of a trauma. Experience can scarcely, if ever, be known. Experience can be felt, and is sometimes unrecognisable to the body. A new feeling (however wondrous) can be experienced as a trauma, or rupture from a dominating story. The unknown and the story are deeply related to each other in this way. The more direct articulation the deeply felt is encroached upon, the less story there is to tell. Words demand of us a capacity to breathe new meaning into them. Perhaps their sounds will shift, their structures engage different systems, and it will require a vision, and such efforts require art. Art can stand service to the producing of stories, or to have no story at all. What art!

Historical narratives can be described as dominant stories selected from available sense data. Ideas such as progress, efficiency, and production service the strengthening of struggles with force and control. Feeling and sensation have received the ultimate walking orders under these ideas. Deleuze and Guattari describe a desire for a body of parts as a machine. In this orientation spirit is often attached to such historical traumas of religion and witchcraft. Feeling and sensation can be the simple words for spirit, or that which we cannot directly see-but sense. The telos of longing works to produce something quite different from desire. To act from the depths of longing creates something lasting, perhaps something eternal.

Narratives, as powerful drivers of occurrence through the world histories, can be written through bodies by recovering sense and feeling. Developing and attuning abilities to receive and choose sense data simultaneously creates a different habitat. The inner and the outer simultaneously create each other in this way. The habitat of experience moulded and shifted by the programs which we write for it.

All sense data carries with it a program for form. The viewable qualities of the form, under current social and cultural narratives, necessitate mediation through means external to the body-through machines. The specific tools of mediation referred to here are imaging systems. 

The function of the eyes relative to the body systems, camera and the lens, the radiation of the x-ray, Kirlian photography, neurological scanning and mapping, telematics and image based communications. In other words, the previously unseen and unfelt become seen and felt.

Each of these tools of mediation have been imparted with specific visual looks, and scientifically speaking-not arbitrarily. Colors, as developed and described through mathematical functions of frequency and density determine the reception such physical properties have in relationship to the body. The perception of such colors came long before we could describe them with a language. Observation and experience led to inquiry, which led to understandings, which lead to fine tuning understanding and reaching new observations and experiences. The cycle of discovery repeating upon itself-leading not to discovery at all, but to habit. The metanarrative of progress serves then as a telos to covering up other narratives which could Just as easily function, but are created as non-sense or impossible.

Art experiences can offer the development of practices which may rupture dominant narratives, however brief, but long enough to insert possibilities which were otherwise deemed beyond, without sense, or impossible-but were really available on a different level of sense data reception all along. As scientific discovery births from rigorous practice, art can also birth discovery toward the relevance of developing deep embodiment and the provocation of a longing.




The past never past, all happenings lasting

a ripple fulfilling —

dropped rocks occurrence belonging

to the eternity of occurring.

Imperative operations shout,

the exiles of choice –

as redemption to the damnation of occurrence.

Plentiful servants replay fantasies —

Drivers of destruction amputate fruition

Drivers of torture replay horrors

Drivers of seeking discover

Drivers of longing find union

Drivers for the sinking of islands

Drivers for the detonating of ideas

Mount the all times

For written action

Asks a softer driver

To feel today.




As a text, you may take me or leave me.

By taking me, you may receive me as your text.

By leaving me, you deny me as your text.

Our existence is mutually inclusive of each other.

The relevance we create of each other-

A resistor toward creating forms.

Your involvement with empathy and compassion-—

A measure by which the rigidity of your form mandates,

A measure by which survival requires adaptation.

Your empathy situations your tolerance.

Your choice creates.




The creation of certitude and belief relies upon agreements and collisions of perception through each other. We matter to ourselves and whether we like it or not, to each other.

Life moves over a multiplicity of perception, over time. Time and life are inextricably related, no one to each other, but variations or expressions of a multiplicity. To pull time in separate directions paradoxically does not expand duration but drains and dissolves the time/life multiplicity. The choice to remain habitual (decline) or open (expansive) determines regulatory paradoxes. To be open to multitudes of differences in perception allows for the creation of variances in certitude and belief. Variances and frequencies of It can then be seen as a principle of specific forms to be formed from agreements and collisions matter to the deepest longings we have. flow in cohesive (not unified, not separate) general direction over time.

As the paragraph above describes eternal movement, this transient quality, can be experienced through the meeting of a ballerina and the astronaut. The symphony of such metaphors are powerful as the and our often The expansive sensations a body under centripetal force is as undeniable centripetal force of the earth rotating on its axis, unrecognised acknowledgment of our sense of this action. as the ballerina floating on stage, hovering as viewers unknowingly hold their breathes, disbelief of a human inhabiting a space we can scarcely comprehend at the hope in their hearts, when we stare in all-and yet the ballerinas do, have, and continue to amaze, to momentarily suspend the tyranny of the astronaut encounters this same different means. The variations of multiplicities from gravity can be ballerina and astronaut. For these land locked logic-gravity, while suspension through a completely expressing the potential in the forms of the resists witnessed entities to meet then, deeper logic and offers an opportunity for a glimpse at transience itself.

Attempts to deny the sensation of awe and wonderment undermine real power-that of creative power. The wills of force ask us to be smarter than systems. To outsmart ‘the system to be good artists, to be good people-this story can find rest when the liberating qualities sought

can be recognized in a pairing as graceful as a ballerina and floating astronaut uniting. For the gravity of the situation is built into our inner ears. We, thankfully, have not outsmarted our inner ears. For the inner ear we cannot see. We must feel it-—the expansion of acceleration relative to ground in movement. Feeling is our hope for saving our bodies from outsmartedness, from willing over nature. For as complicated as nature has been for humans, we have no idea what we are dealing with when it comes to ourselves. We ought to consider more fully such creations we set forth into the world, lest we lose our ability to feel at all.




The sea contains the bodies of the world. The unfelt, the felt, all find their way toward the incomprehensible mass of undulating, circulating body of shifting light, shipping vessels. Somehow we al| find our way back to the sea. An interesting, observed biological fact is that all of us have in our veins the exact same percentage of salt in our blood that exists in the ocean, and, therefore, we have salt in our blood, in our sweat, in our tears. Our bodies are tied to the ocean. And when we go back to the sea — whether to sail the breeze and skim the dances of light in the wet folds of the sea, to fish for our hungry stomachs, to explore depths of darkness, to discover artefacts of ruin or possibility, or to watch the rise and fall of our breath in rhythm with the waves, “ we are going back from whence we came. “


En close

On any given day, one thing may excellently be created; two things sufficiently created; three things partially created, and any number of things barely breathed at all.

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