Within my art practice, I depict physicality non-figuratively through incorporating crafted shapes or constructions, with raw materials and found objects. The merged objects are cautiously curated in relation to all present elements of the artwork and the space of exhibit.
The core of the artwork is the crafted element, which frames the work spatially. The added objects are in contrast, temporary and in constant flux.
All components of the artwork require and rely on one another, as independent entities, but depending on all other components’ presence to be successful.
I see and refer to objects and shapes within my practice as physical bodies, with their own personhood and agency. The energy and behaviour of the human body inform how I depict physical relations and states of being within an artwork. I research social behaviour, movement and presence of human bodies. How bodies meet, move and act in relation to another body and the space they are within. Their behaviour is their own but also as a result of a situation and other bodies’ presence. Depending on the specific context of culture one is allocated within, the bodies’ relations will be different, as all cultures have their own individual approach to the social space and nature of human relations.
My interest in objects’ relations is influenced by philosophical concepts and theories found within the subject areas of Material Culture and Object-Oriented Ontology. Strategies and tools to openly approach objects as equal to one another have been enquired through this research. These theories become of interest within my artistic practice as it contains an extensive use of readymade and found objects as key materials. The materials I use often have inherent functions and qualities which serves a purpose. But when positioned within an art context, their purpose and function are altered.
I cannot delete the associations of intended purpose or function of an object, but I can direct and affect one’s reading of it through how it has been incorporated within an artwork. When combined, the objects’ individuality can be emphasized through their placement and contrasts to one another. In the same way, other qualities of the object can be muted. Within my art practice, there is no hierarchy in-between the materials, they all have their own separate qualities and functions.
When working with objects within my practice, the process depends on the act of intuitive placing. The object needs to be placed without it looking placed, underworked nor overworked, forced nor effortless, random nor planned, struggling nor obvious.
For me, intuition is an approach and method of not knowing and accepting the lack of need to be either right or wrong nor in between. The intuition is fluid, and exists through an open mind, strong opinions and unexplainable reasoning.
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