A Method Of Isolationist Projections

These presented reimagined visual montages focus on art’s ability to (re)create spirit of a sociocultural site of events, and from this theoretical perspective the artist defines his video poems as both conservation and sustenance of continuity.

The artist defines any human habitat as a socio-cultural rhizome, possessing an intangible quality of a material site, perceived both physically and spiritually. 

And considering that re-purposing derelict spaces for art exhibitions is nothing new in the art world, it was easy for therefore for artist to locate his experimental pieces in the locale of a shack that was his home for over twenty years.

The shack, as site of human occupation and spatial localization is therefore identified as a physical reality, a mediators and medium of familial interactions , while at the same time bearing memories of struggles of ‘others’.

It possesses a distinguishable set of fundamental attributes: integrity, continuity, a touch of eternity, while being both a reality and an entity, and rhizome from which many interpretation stem and sprout..

Constructing a shack entails a process of assembling discarded elements, objects and re-assembling them into dimensions, forms and sculpted for human habitation. This process of reformation of the deformed is what the series of projections attempts to credit as the thread that runs through each video poem, each being a node in the growing stem from a place of origins.

Through filming images projected on the shack itself, a new dimension is added onto that cacophony of visual concepts at play, and re-projecting and filming the projections is another method of perfecting deformity, or exploring the sublime chaos.

An idealization of the shack might another layer of interpretative discourse that can be roused by the series, for by annexing this previously occupied ‘sculpture as location of present artistic output’, the artist is evolving a language.

And this language serves to both articulate the physical chaos of the shack as a deformity, in contrast to an aesthetic form taken when captured within frames of multiple projections.