The Organism of Art Practice

I’ve been looking at the patterns within my work recently, at rhythms within the themes and purposes, and I have come to see one recurring desire that I have input but never taken full notice of. The desire to create a living space. Work where all the elements, be them sculptural, video, audio or performed (including the involvement of the audience) are, for me, genomes within the molecular structure of the work. Each piece consists of a series of patterns, like a DNA sequence, a system that is somewhat self-organized by the experience of the work itself, or in genetic terms ‘external stimuli.’ I try to use bodies as the separate nucleotide within the DNA molecule, each standing as it’s own complex system whilst becoming a singular part of a greater complexity as well, each consciousness a trigger in the greater complexity of the work, much as each nucleotide is a trigger for the greater structure of the DNA molecule. To simplify I want my work to be alive, or at least have the essence of life.

But how does one create the billions of years of evolution that gave birth to the cell within the constraints of art? My approach has always been to use the senses as the structure of the cell, as if, say, the sculptural element (touch/spacial awareness) is the cell wall, the video (sight) the nucleus and the sound (audible) as the enzymes, and to see what happens when one or more of these parts is limited, distorted or turned of all together, much as scientists do literally. With this in mind my latest work in progress will try to capture these notions and processes, and will be created to work with the patterns and structures formed by the different senses, to mutate and evolve to suit its environment.

Art for me is life, a coherent and conscious entity formed from the thoughts and actions of creative man.


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