My practice observes me as I observe the world from monotonously rehearsed performances in the exploration of narratives in realities that are isolated in paused outcomes. Collecting colour experience from natural dye maintains a grounded conversation between entity and body, body and earth; a unity of being. The body connects us to a sensical domain of understanding in which we create narratives from the apparitions it feeds us. In feeding the energy back to the cycle, I re-energise the process of doing until dilution to which a new cycle is made. In questioning motivations of routine behaviours distinctions of separations are made between the vessel (body) and being (energy), a property my practice omits.
By negating the absolute of the senses, the ephemerality of state is where my practice lies, a place in the negative space of living.
My practice is a conjugation of processes found in domestic life which become fixtures of familiar yet unfamiliar states. When diluted, these repetitions are so distant, they become a projection of the participator not a reflection of the creator.
Material varies depending on how much dye can be absorbed, deviations in matter possess a new experience of interaction and so reflections from the performance. My main material of use is fabric because of its connection to the body and the repetition of pattern, it must create a bigger system, plaster presents the sacrificial mirror surface which leads to observation. In finding flow, my performance of observation leads to an understanding of my material. I’ve spent time with it, I witness the material flexibility and its characteristics.
This is the most romantic relationship I’ve known; I’m observing my practices heartbeat in the form of rhythmic cycles. My practice is so much an extension of my body, a limb.
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