Preview of my summer work-in-progress in the studio. These works are a fleshing out of my Trancing the Third Millennium project in which my aim is to create both visual and text imaginings of 1000 years in the future. My practice moves between text and textiles as bodies morphic and alien. Metal and clay are also strong features in my materials, particularly lead and porcelain. Central to my practice is the interrogation of agency and trust—trust in the material, in the body, and in the extended consciousness as a creative force. Somatic rituals initiate my projects, embracing altered states of consciousness such as hypnagogia and lucid dreaming. These states enable me to access spaces where the boundaries between the rational and the intuitive blur, opening possibilities for speculative futures.

My practice intersects mysticism, emergent materiality, and speculative futures and I approach the body as a multi-dimensional trans-material portal. Also an experimental writer and my site-specific text installations employ methods of engraving and kickwriting (Kerouac) to channel narrative continuums that floats between divination and fiction. My current installations are meditations on the astrological chart of the dawning of the Third Millennium on 01.01.3000 AD and ancient female oracle figures such as Sibyl, Pythia the Furies and timeless Venus. Within my text practice I have two projects, the The Third Millennium and Venus Manifesto.

This is the first of an expansive series of figures leading to a New Venus Army marching against patriarchal conflict and for humane collective cohabitation of the planet and beyond. She is protean, emerging, a formed thing leaving room for agency in becoming. Each figure is unique, hand sewn, more a taxidermy than tapestry, designed to lay, sit, stand and possible one day walk and dance. The materials are natural though I can't vouch for organic. The chair is interchangeable with other elements. She also speaks to fear. as the tension of misalignment, the space between knowing and unknowing, the gap where identity fractures and reforms. The inconjunct (an astrological aspect of dissonance) manifests in the body as unresolved motion, a topography of scars that mark the instability of selfhood. Venus Inconjunct Moon encapsulates this tension: the shifting tides of Luna pitted against Venusian longing, the patriarchal gaze naming instability as madness. Fear, here, is both internal and imposed, the dread of being seen as fractured and the terror of never fully aligning with oneself. The body becomes a landscape of adjustment, forced to navigate the plane of the inconjunct, where balance is elusive. The figure exists in perpetual motion, the breath itself an act of defiance against stasis. This geometry of fear does not seek resolution; instead, it embodies the courage to remain within disconnection, to move despite the dissonance, to inhabit a space where fear is not paralysis but propulsion.

Part of my SYBL project, this artwork shows the malleability of marble when crushed to dust and supported by the lightest of woven material. Functioning like a permeable skin the surface and content fuse as both expanding and contracting matter, rather like the holding of the breath in filling to the max the lungs. The intestinal composition of the work speaks to digestion and the gut as the second (if not primary) brain, keeping in place our soma-neuro holding patterns and presence continuum. Materials are marble dust, muslin, thread (various positions and sizes).

This aspect of my visual practice draws upon my philosophy research and writing and seeks to explore the aesthetics and materiality of ignorance as a force shaping the lived experience of suffering and freedom. Influences here show a neuroscience related installation at the Prada Foundation in 2022. I am interested in exploring the many over the multiple.
 
My aim with this project is to develop a radical aesthetics of ignorance that foregrounds the complex entwinement of embodiment, materiality, and temporality in the human body. Essentially, how does ignorance shape us? These are primary stage maquettes and working with the material is truly fascinating!

Part of my everyday studio practice involves intuitive wall based works using paint and any materials at hand. Some of the bricolage wall pieces have evolved over 10-months and though I don't yet have a clear sense of narrative sitting with it is creatively generative. That's enough for me. These artworks are my explorations with latex and walnut stain as bricolages, they haven't yet found their way but the conversation is intense.