My current practise sits somewhere between research and fiction, between curatorial orchestration and embodied experience, between the rigour of thought and the delightful instability of being more than one at the same time.
My practice is an ongoing enquiry into subjectivity, performativity and the role of the contemporary artist. For many years, my work has developed through the creation of multiple heteronyms: autonomous artistic identities who think, behave and produce work according to their own logics, biographies and aesthetic languages. These heteronyms are not alter egos or masks; they are independent positions through which I test ideas, complicate authorship and inhabit multiple ways of being in the world.
At the heart of my research lies a question that has shaped my practice for more than a decade: what happens when the literary concept of the heteronym is transposed into contemporary art? How does the creation and embodiment of fictional artists destabilise the notion of a singular self, and what new kinds of artistic and narrative possibilities emerge as a result? My interest in divided subjectivities is both conceptual and lived, shaped by personal experiences of mental health, and by a longstanding awareness that identity is rarely singular, stable or coherent.
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Print Edition of 90 Dimensions (WxH): 45 x 37cm
My current practise sits somewhere between research and fiction, between curatorial orchestration and embodied experience, between the rigour of thought and the delightful instability of being more than one at the same time.
My practice is an ongoing enquiry into subjectivity, performativity and the role of the contemporary artist. For many years, my work has developed through the creation of multiple heteronyms: autonomous artistic identities who think, behave and produce work according to their own logics, biographies and aesthetic languages. These heteronyms are not alter egos or masks; they are independent positions through which I test ideas, complicate authorship and inhabit multiple ways of being in the world.
At the heart of my research lies a question that has shaped my practice for more than a decade: what happens when the literary concept of the heteronym is transposed into contemporary art? How does the creation and embodiment of fictional artists destabilise the notion of a singular self, and what new kinds of artistic and narrative possibilities emerge as a result? My interest in divided subjectivities is both conceptual and lived, shaped by personal experiences of mental health, and by a longstanding awareness that identity is rarely singular, stable or coherent.
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