DEVICE
September 2015 - University for the Creative Arts, Canterbury
Materiality and Perception
My practice is in a permanent state of flux. Nothing is finished, and nor will it be, because the visual language of geometries that I use is always altering the way in which it is presented. Always becoming. Each structure, each drawing, is a configuration that signifies the arrival of another and a history of countless others.
Trying to document the configurations however is much like a painter trying to paint a river exactly as it is the instant that it is seen. Water is fluid and constantly flowing, so a painter paints the river as it appears every time they glance at it. So really, every painting of a river is a collage of an infinite number of configurations of water that make it. Each drawing of mine is an infinity of spatial relationships that present themselves to me whether I notice or not - only the ones that I have seen are translated and recorded, an idea that can also be understood in relation to my structures. My practice belongs to a plane of spatiality.