That mystical point of conception. That tingly feeling on the crown of your head. That eureka! What preceeds it? Most of the time it’s a murky, confusing quagmire but for those blinding, white lights of inspiration.

And when I get that feelin’, I want, sexual heeeeealin’

At the moment, yes. That is all my mind seems to be thing about.

But why?

This is a near perfect transcript of my inner monologue. A Dawson’s Creek-esque, referential, faux-existential dialogue between synapses. The kind of talk one would be ostracized for vocalizing in a pub. This is where my thoughts and my work lie; in the hilarious truth of realizing the ridiculousness of one’s actions. How we are effected, deep down to our core, by influences out with of our control. The music we hear, the images we see and even the streets we walk down. I can’t even write an artists statement without referring to a television show I watched when I was 12 years old.

In between, the reinforced structures and our own realized concepts ins the space to play; the questions. Why do we walk on pavements and not over walls? Why do we feel ungroomed when we grow our body hair? Why do we see with our eyes and not our noses? These questions in a very simple way are scientific play time experiments.

Experimentation and exploration of thought is intrinsic to my practice and since the subject can vary dramatically in my work, the medium can vary too. In saying this there is one consistency: I must be in the work. I believe the most effective way in which to present the sincerity of the work is to be present within it and for the audience to experience it directly.

I want my practice to move outward not upward by gaining inspiration from multiple subjects and genres as I see art as a tool for exploration and not as a commodity or something to own. I consider my work to be forever ephemeral. Perhaps I may have a record of the work in the form of photography, video or detritus resulting in an installation but the time and space in which the art was actually present is fleeting. Time is of the most value to me; I consider that which only exists for a moment to be most precious.

Within multiple subjects I use making, whether construction of scenario or image or performance, to delve into theories. The performance aspect to my work is less theatrical and more real-time based which I feel, again, adds sincerity. What the audience is witnessing is my physical processing of thoughts and theories and the outcome is a form of resolution. Such as in science, the resultant performance may or may not match the hypothesis, however, this is what I am trying to achieve; greater understanding.

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