About the 2002-2006 period of work:
Questioning- Where are things from, where do
they go, and where do I stand in between?
My early work in art addressed change and relationships by questioning
the origins of various phenomenon, and offered projections to their future
outcomes. As I took interest in the transformative potential of everyday
things, I began to experiment with the expressive potential of my materials—
stretching them metaphorically, or physically until they warped, melted,
and fell apart. The transformation as a recorded interval or void, became
the art object as well as my introspection into human perception and experience.
I saw my work then as an ongoing quest, a constant search into the history
and life of beings, moments, and places. In this body of work, I documented,
represented, and recreated happenings while questioning the uncertainty
of the future.
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About the 2006-2008 period of work:
Questioning- There are many condtions that come
together to frame our perception. If what we perceive is only a fraction
of the whole, how can we understand the condition that allows this experience
in the first place? In another words, how do I get to know what I am looking
at, not by judging its appearance, but by understanding the context that
allows its appearance?
This was a period of charting the interplay between the perceptible developments
of forms through dialogues with chance. My process followed simple rules
I devised so as to systematically attune my awareness to nature’s
rhythm and chaos. These rules determined which instruments were needed
to allow eye or ear to perceive the dialogue; they set the tempo of the
piece; and they determined its complexity. Because these rules/ principles
can be applied broadly regardless of material and location, a variety
of media and processes were used. While constantly integrating and synthesizing
seemingly disparate entities, I saw the process, systems and schematics
that underlie these works as the unfolding of reality of respective forms.
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About the 2009 period of work:
Questioning-
As artists we can mold and bend and glue things together to make a statement
about art. The "how-to" is not so much a question since art
institutions can even have it down to a formula for their students in
their foundation studies. But as a student myself, I echo what Robert
Smithson said, "I'm interested in exploring the apparatus I'm being
threaded through". Questions that arose for me during this time lay
in the pride
behind meaning-making in art objects, as well as the
teaching of such practice. This series in Skillful Practical Coping doesn't
address, but comes out as a reaction to why the prevailing way of working
is a relevant one, and relevant to whom.
Following my investigation on the perception of reality, my work over
this period focused on defamiliarization, particularly on the idea of
what constitutes “common sense reality”. A compilation of
objects, audio clips and text were deliberately setup for conflicts, such
as visual ambiguities, logical inconsistencies, sensory disjunctions,
and physical restraints. I attempted to formulate a network of relationships
using these peices by placing them against each other, so that single
meaning (when on their own) can be substituted by multiple meanings, making
the work products of decomposition and then reintegration from multiple
perspectives.
About the 2010-11 period of work:
Question- How do we know what we know, and what
is it we value in knowledge? How can we be rigorous with our practice
and at the same time be generous in our communication?
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