I combed the beach for shells and pieces of coral. They were traded with the sea for drawings in the sand. I practiced singing with my vacuum cleaner. Its notes were far more complicated than they seemed. I touched these notes by singing to them, and changed them. They changed me. We met, the sound vibrated. I sounded mechanic, and the vacuum cleaner started singing. It was more alive, and I was less so. I was one with the vacuum cleaner, which made me no longer be myself. It was liberating. In my work, I search for and extend the borders of the self. Borders extended hint at borders infinitely extended, creating one body from which to experience. I search in performance, music, film, photography, drawings, and sculpture.
THESIS Untitled: On the nonverbal in the creation and experience of art
An inquiry into the communication of art which comes from a personal, nonverbal origin. When work largely depends on intuition and the unconscious, how does it become transferable to a general audience? After evaluating the importance of the Subject and subjectivity in my work, I investigated transference from within the personal. I searched for generally recognizable, yet personally experienced phenomena that I called “intersections”. In art, this lead me to the concepts of the the Barthes’ punctum, Freud’s uncanny, and Lacan’s real and the gaze. Delving into these concepts revealed the beauty of the nonverbal and personal experience in relation to art, and the role of a largely nonverbal working process in invoking such experiences.