My current practice explores the physical properties of tension, water and rigging as tangible elements in space.
I work across a number of disciplines, including installation, performance, media and sculpture. The specific elements with which I work relate to each other in a way that allows them to exist both independently but also as an integral part of the whole group. My research methodology focuses on the means to harness the potential energy of water and wind through the means of rigging, tension, holding and manipulation.
I make installations using materials such as scaffolding, rope, elastic and habotai silk which I transfer into different environments, for example, using them within my dance performances. Using these materials across different disciplines allows me to explore their full potential. I combine language and materials to create active and dynamic performances which are fundamentally a reaction to descriptions of water-based natural phenomena. I am primarily interested in the mutability of water, in its constantly changing state. My work constantly plays on this theme of mutability.
My use of materials reflects the way in which they react to water, rigging, fluidity, force and kinetic movement. Whether in performance, drawing or sculpture, the way in which the materials are used reflect the process of making, at the same time as being part of the created object, performance or installation.
The space and environment in which my work exists is part of the underlying concept. Being interested in how viewers navigate space and interpret art, it is important to me to observe how an audience interacts with a performance or installation. For example, when I visualise how water or any other energy force travels through space, I want observers to engage with that energy directly as the piece is viewed, to gain a better understanding of their own physicality. The work of the artist Dominique Gonzalez-Foerester which examines the changeability of spaces within the context of art, is a significant reference point for my own practice. Within my work using dance, I am now exploring how human interference and manipulation of space is manifested.