A major concern of my practice is how value might be placed on 'artworks'. The work is produced in response to the apparent paradox, that either art is not appreciated enough, or sanctified too much, by artists themselves or other figures in the art world.
Philosophical / metaphysical questions, such as the notion of nothingness are a starting point. I address these issues though photography, film, text and sound. When trying to write about nothing I ultimately begin to define 'it', making it something. My attempts to make a photographic image of nothing render my incapability to do so, thus developing the paradoxical state that the practice works in. These processes create ephemeral and evolving works, aiming to subvert the apparent model for valuing art.
Can I make apparent nothing important or valued? Every work is an attempt to understand my own scopophilic tendencies of why I need to make, photograph or film things. I have come to understand that challenging the notion that nothing really is 'nothing' has become analogous to a metaphor for the way in which we might value or devalue art. This has left the practice to work in an extremely democratic manner. I am aware I cannot offer total 'nothing', but am comfortable with offering not much.
The works are the results of methodical processes documenting the concerns of each piece. The intention most often is to strip away the meaning of each image or sound to form an unimportant surface, which ironically may become valued as an artwork. This is where my own problematic relationship with aesthetic pleasure is embodied. An issue that I shall continue to address is that I do not wish to call attention to a finished idea. I presume that these efforts to resist conclusiveness shall be ongoing.