About

Artist Statement:

 

Using, as life’s breath, resolute, unceasing movement. Using sound, a present perception of an ever-shifting past. Using an interdisciplinary weave and an inter-media approach. Using the perfect impossibility of geometry. Using the imperfect possibility of inductive reasoning. Using a foil, a partition, like a tympanum*. Using the contrast of the aural and the visual. Using the futility of my devotion. Using a polyphonic dialogism, against the inexorable monologism of linearity**. Using stochastic modeling through pseudo-randomness. Using technological tools such as Max/MSP and Iannix.

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—in order—

(and disorder)

 

To play with our predictions. To decorticate the protective shell of understanding, for the rattled gaze of a spect-actor*** to be fixed on the insalubrious indifference that the world responds with. To face reflections as we discriminate the indiscriminate. To pull focus on the unstable jumble of joints, bolts, and loose screws that are working overtime to keep us in the illusory comfort of a legible reality. To expose the subtraction of a silhouette from the fabric of space-time. To promote thought and discussions, engaging with globalism’s inherent and antithetical fragmentation, with our implementations of cognitive illusions in our process of sense-making, and with the absurd draw of strength therein. To isolate the relations of particles from their encasing narratives. To walk through every landscape in steadfast incomprehension.

 

*Alluding to Samuel Beckett’s “The Unnamable.”

**Referring to Saun Santipreecha’s concept of Relational Modularity.

***After Augusto Boal’s term, that emphasizes the role of the spectator in theatre, and more broadly, in art.