Drawing on my extensive experience as a designer and creative director in fashion I deliberately privilege aesthetic complexity, visual allure and material seduction. Employing a diverse range of media including film, painting, sculpture, sound and performance in conjunction with the exhibition environment, to conjure reality effects that attempt to elicit a response of affect and intensity in the viewer.
It is at the surface, the site of competition for distinction and visibility in commodity capitalism, that I utilise glamour to weave together aesthetics and economics tightly. The display of effortless nonchalance is an effort to conceal the labour required to construct the visual effect, that allows for the authenticity of abstractions to emerge as the dominant quality, legible at a glance, at the surface of the art object.
My use of aesthetics is a conscious strategy to show rather than tell, to communicate through the senses by creating visual and experiential effects that are immediate, perceptual, pleasurable and emotional. This I understand as a means of producing affective ripples of energy, of alluring contagion, that does not have the power to impose itself on reality or to effect exact outcomes but rather has the potential to catch on or infect the viewer encounter with its intention, forecasting possible futures, through the actualisation of the conditions for that future, in the present.
It is my contention that the object in conjunction with the exhibition has the possibility of conjuring a new now and a new what is, while simultaneously participating in the on-going formation of individual subjectivities within commodity capitalism. I understand working within the nexus of convention and innovation, repetition and difference, in actions directed towards change, as a constructive attitude to art making and exhibiting. An attitude that is conscious of its own performative efficacy, one that attempts to shift the emphasis from critique to that of active engagement in the creation of realities alternative to the dominant.
Rather than understanding how we might live on the margins without being marginal my practice attempts to enact how we might live in the centre without being central?