STATEMENT

STATEMENT

I start with a simple motive to add to the beauty in the world, and not to disgrace. It sounds easier than it has been. I endured decades of ridicule, the kind of words against words that are so often to prove, and now seem such a significant waste of energy. I work to understand nature, let go of beliefs and connect deeply within my body, so that other peoples’ bodies can also connect with a resonance that reminds them of their benevolent power to contribute to the beauty in nature.

 

Everything in nature has revealed itself to be about structure, dynamics, and relationships. The way these relationships had played out with humans span tensions such as grandeur and abjection, brutality and cleansing, ignorance and power. By diving into the nature of desire and studies in epistemologies and ontologies of becoming, I began to understand the roots of these tensions, functions of conflict, and the unrelenting necessity of beauty.

 

The relationship between Vision and Body has propelled my artistic activity. I see the body as the generative force in cognition. I think about Biology as the driving force of logic. This bottom-up vision has a different way than the top-down (ideology-in) route. The difference in the movement arising from this bottom-up understanding is the way I came to understand motive and reasoning in harmony with life. This understanding allows the body to understand beliefs, propaganda, and incoming sensory stimuli to be ‘seen’ as aggregated impulses. These aggregates create illusions, imaginations, motives, and structures that seem immovable due to their location in mind. When ideas are the driving force of a body, it is like the body is held in a trance-beam, performing actions. The body becomes a deployable agent, instead of a life with its own volition. People tend to fear the bottom-up orientation due to fear-based beliefs about human motives and eventual outcomes.

 

Art transforms, as a labor and relationship between the viewer and all the motives in the viewers’ lives. As an artist, working with ideas is not enough; the ideas must connect with heart. Conception for any work always is sourced from a specific quality. In my work, that is in resonance. This resonance must be whole, nurturing, healing, benevolent, with a sense of reverie-a subtle difference in awe from naiveté and awe from respect. The resonance is a tactile quality, that can be felt and held in sense, heart, and mind. Allegorical themes are key, and guide me through history to reveal the patterns humans repeat through various epochs. There can be an agreement in which the vision humans compound upon the nature, leads to where we are today, with the formation of humanlike structures which mirror, but do not replicate life itself. A mirror is a very different function than a vision, or a reflection. Many of my artworks serve as proofs of these findings.

 

Since humans with access to technology and industrialisation live with more resources than they know what to responsibly do with, increased demands and comparisons between machine and robotic labor, the realms about intelligence and belief constructs have expanded.

 

Decades before I was born, art was all about ideas. I also want to know what ideas create what outcomes, and how to responsibly create forms. Artists have done this past, and many critique this as an impossibility. Perhaps more accurately it is an improbability, depending on how far out in the development the sensory body has become with the individuals “I” or self. But the contexts have changed. By deconstructing cultural values, I look for the ideas and motives that support life. While I found some small traces of benefit from progressive agendas, I found more pain and suffering, as the motives were rooted in pain and suffering themselves.

 

To create from a different space, requires a different stance. One that would be risky. This middle way, stands to reveal the myth between the psychological and physical divide. As many have said, as above, so below, then it is often the beliefs and ideas that dominate the body, and come in through media and communication to subtlety work on the body. And so I work to make immersive experiences, so viewers can feel for themselves, in their body, some input that connects with a resonance in nature. This resonance serves to sever the stream of controlling beliefs, and instead leave the viewer with themselves. As we are born and leave alone is an idea. A human is actually born from a mother and father still. The impulses to the mother inform the life prelanguage and for several years. So as the idea of aloneness pervades the psyche, so deep as to touch the soul, it is also based on a myth. The connection we forget to life, is that this connection extends lineages, and we are born free but immediately formed by others. As every human basically reaches to become self-actualized, the culture we live in do not support this transition in any kind of meaningful way. Art can serve as this support. As the goal is to not indoctrinate or manipulate life, but to instill understanding of what in nature and life is benevolent and beautiful.

 

Having an artistic background in dance and piano, and education in interior design and advertising, I approach the work skeptically and scientifically through hypothesis and tests with various elemental processes. Generating theories, about how the terrain informs motive and behavior, and the ways cultures manipulate bodies with ideas and information. My goal is ultimately to make spaces, experiences, and stimulation to give people a memory of the inherent freedom and love they are born into the world with, regardless of the material conditions. To reveal the dynamics in subtle differences, and convey historical memories, for a way the reverence of the nature we are ultimately fully connected with, in all the ways nature has become coded and created-in -and-with technology.

 

The material has become part of my work in my mid-30s now, as my work transforms through mediums, to become tactile. I saw at a certain point, the ideas and motives supportive of life, and to fairness in labor and creating, come through materials. After years of turmoil, self-subjugation, ideologies conflicting with my biology, environmental toxicity, autoimmune disease, and an incident that could have caused blindness, I decided to reorient my artwork. Slowly transitioning from an image-heavy and detailed computer use, towards realising the art resonances in sculptural and textile projects.

 


 

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