My practice attempts to demystify constructions of authenticity and make space for ambiguities. Ambiguities – in the form of hybridity, métissage, hopeful monsters and border zones – provide us with the possibility to negotiate a space among the world’s dominant paradigms in which secretive and multiple manifestations of diversity are not anticipated, accommodated or neutralized (see Hayles 2008; Braidotti 1994; Lionnet 1989; Glissant 1969, 1981, 1990). To this end, I blur boundaries that separate practice, theory and criticism – and then creatively engage with the uncertainties that ensue.
There is something purposefully self-reflective about this process. Although fictionalized or obscured to a greater or lesser extent I use personal experience as a starting point for most of my projects.
Books, photographs, films/videos, maps, objects and archival materials that reference (and/or deconstruct) certain discourses are my material. There is an element of appropriation to this - using these discourses - these stories - to create something new - to tell a different story. As a result of the conceptual and material linkages between projects, there tends to be a time-based quality to the work as themes are repeated or reexamined in different contexts, using different formats.
There is something purposefully self-reflective about this process. Although fictionalized or obscured to a greater or lesser extent I use personal experience as a starting point for most of my projects.
Books, photographs, films/videos, maps, objects and archival materials that reference (and/or deconstruct) certain discourses are my material. There is an element of appropriation to this - using these discourses - these stories - to create something new - to tell a different story. As a result of the conceptual and material linkages between projects, there tends to be a time-based quality to the work as themes are repeated or reexamined in different contexts, using different formats.
