I am always experminentally engaged with my work. In attempting to create alternative visions away from conventional barriers, I am seeking possibilities for reassembling pieces of phenomenal experiences into new and imaginative aesthetic forms in my books, sculpture and related works.
“Books…communicate polysemiously. The closed cover, turned page, broken spine, serial form, immutable text, offer their own deep-rooted and resilient combination of technology and social forms.” Paul Duguid, Material Matters: The Past and Futurology of the Book.
My idea of a book, and book-related works, are more than a temporal sequence of compartmentalized experiences, whose order is regulated by the finite view of line, page, covers, etc. Rather, the ‘book’ can take on forms that do not involve ordinary ‘reading’ practices such as those found in codices, scrolls, tablets, etc., or ordinary media such as paper, velum, etc. My work becomes a book the instant one recognizes its potential ‘to read’.
Discarding the idea of the book as a linear form with a fixed sequence and narrative, I have chosen a more complex temporal, textual, spatial invention of interdependent meaning-making thought. Although the physical materiality of the work is as essential as the conceptual material it houses, it is the idea that is ultimately paramount, taking a signal from Plato’s term lexis, my mode of ‘telling’ is to transform and reassemble visual and textual elements into new systems. By manipulating and resituating them into chance juxtapositions, transformation possibilities are created (Thanks to John Cage). Therefore, the work I produce, the autographic text I write, is not governed by pre-established rules, nor can it be judged according to familiar categories. The ‘rules’ are what the work itself is looking for – that is meaning making.