The working methods I use are versatile. I am mostly working in the fields of drawing, painting, sculpture and installation. They are primarily an assemblage of autobiographical narratives, accounts of dreams, and reflections on the condition of identity. These reflections challenge the very idea of selfhood as something stable.
I am curious about the space between the outside environment and my inward world. What do I feel about the world? Are there more possibilities of the internal me? Familiar objects become a sign, a documentation of the demands and desires of the human being, to reflect our habits, experiences, and record of the past.
“Can I build Life? I mean, I know I’m not a confirmed alchemist but she’s not gonna do bad to me, right?”
Let’s explore the psychedelic dream of my Furby-Golem replicate, a transcription of the creator/creature experiment, a subconscious-rooted quest to enlighten demiurge human obsessions.
Moving Phenomena, was set up in an outdoor space to challenge natural phenomena, such as wind, weather, gravity or sunlight, etc. The mirror reflection, and taking the surrounding space into consideration, attemps to find a balance between industrial and natural materials.
The different format of the interim show affected the way we all interact and create art. I am personally used to work with my fine art prints and exhibiting in a physical form and to be driven to rethink not only the way I interact, but how others will interact with my art in an online platform was really exciting.
David is exploring the consequences of algorithmic collaboration through a process of digital frottage and orchestrated human-machine encounters. He is fascinated by the emergent and unexpected implications of machine learning and is developing an interdisciplinary practice that investigates its philosophical and cultural dimensions.
The Hoping Mechanism
Operating in the shadow of political turmoil yet anticipating forms of unrealised technological control, one is compelled to locate the infinite within the finite. Where rests the potential for a limitless horizon that operates beyond the slippery semiotics of the human navigating an ever-expanding and increasingly unfamiliar territory?
Setting scene for my Venus Banquette. I’m fascinated with how carnivorous plants feed, manipulating/seducing its prey. I use erotica and food in collage, focusing on the venus fly trap symbolising human rights issues. Regarding feminism and an ongoing personal journey of celebrating recovery, desire and libido after sexual assault.