Structures of organisation and their disruption 

My artistic practice most often takes on the form of sculptures and installations. The forms and objects that are introduced are chosen for their relation to structures of organisation, architecture for example being the most prominent. The works do not directly talk about these structures, rather they reflect the disruption of them. 

The practice takes on a shifting character of forms. They are taken from their everyday existence and implemented in new locations, renewed contexts, and diverse production methods. It is through an obsessive urge to include a form inside my visual language that they take on a figure that distances itself from its original posture. The objects change, the materials they are made from, their dimensions and the way they behave inside of a space, while still maintaining a certain degree of recognisability. Certain characteristics are exaggerated or lost, like the translating of a text, some of the original essence is preserved, but the details shift and new nuances are laid bare in the process. They are mediated to be able to exist inside this reality.

"A large part of seeing depends upon habit and convention”

 (J. B. Berger, 1972)

The past few years, my research has taken on an interest in the possible value of disruption. Perception combines what we know, how we feel about it, and in what circumstances we meet it. However, the importance of this perceptual framework, what we already know and how we feel,  and its influence on how we relate to what surrounds us, the research mainly focuses on its counterpart, contextual perception, the circumstances we meet it in. Disruption as a catalyst of visibility, the versatility of location-related context, and the notion of imitation as a transformative action.