I describe my art practice as Making with a capital M, rendering it synonymous with a lived journey of entangled relationships with otherness. Bodily listening is a core methodology that inevitably reveals emergent affinities across different materials and spaces, and by extension, deepens a bottom-up understanding of the world.

 

Working mainly with rescued raw materials, rejected remnants, by-products, and found objects allows for an ongoing exploration of preservation and renewal, often capturing particular aspects of a space or context into sculptural form that plays with the simultaneity of figure and ground, turning the overlooked into a real-time tableau of sensory noticing.

 

Recent MVA work has encompassed concepts of non-autonomous sovereignty and the importance of difference at the centre of emergent affinities. Borrowing from the universal languages of alchemy and abstract mathematics, I explore questions such as “How can the parts of a whole transform, or be transformed by their own topology?”, “How does alchemical transformation symbolically echo a lived creative practice?”, and “How can provisionality and the preservation of ancient patterns co-exist in sculptural assemblage?” Ultimately arriving at an overarching theme of the “homeomorphic mutt” to encapsulate the simultaneity of self and other in relationship to Source.

 

A homeomorphic mutt, whether in the form of a sculptural object or a sentient being, encapsulates a same-but-different ethos: a multistoried, actively entangled assemblage with emergent selfhood or personality. This personality, as I see it, depends on defining criteria such as archetypal qualities, genetic (and epigenetic) inheritances, integrational knowledge, and ongoing contextual influences. It is interconnected, but necessarily unique.

 

In this sense, my sculptural art practice, celebrating the unique properties, scars, and voices of scrappy remnants and diverse-but-interrelated material mash-ups, is at once a reflection of my identity and representative of a world in which I wish to live. It echoes the divine feminine and matriarchal “generatrix” qualities of Mater (Latin term for both matter and source) as an evergreen process of relating, rescuing, questioning, re-membering, re-cognising, and transforming that is not immune to the affects of its container (topology), nor is its container immune to evolving inner criteria that push against the great maw of collective norms.