溺死 (The Drowning)
Reminiscent of William Burroughs’ surrealist-inspired cut-up narrative techniques, informed by Sergei Eisenstein’s pioneering use of montage, inspired by Robert Rauschenberg’s fragmentary layering and Andy Warhol’s brightly stained iconography, this recombinant dance fantasia fractures and re-structures visual experience, changing the time signature of perception.
Individual experiences of desire and loss, set against an eternity of physical law, are subject to the blinking ambiguity of the present: things becomes instant shadows of themselves, etched on crumbling infrastructure, as the future bypasses the present with the cognitive equivalent of a sonic boom. The Drowning transcribes and comments on the treacherous quality of movement, rendering an account of traumatic incident on a subliminal level that sparks fight-or-flight physiological reactions. In nature cracks and misaligned juxtapositions describe danger, like the thawing of lake ice or an awakening fault line. The relentless, wave-like multiplications of this visual music engender anxiety, identifying fear as the closest face of truth, emphatically prophesying abrupt transformation.
Gesture, it seems, directly impacts the central nervous system in a way that almost no other type of human communication can accomplish. The marks left by physical movement through and immersion in materials are the signature of this work.
From conception to death there is no cessation, only caesura, syncopation, arrhythmia, as the wave/particle dance of being moves around bumps or holes in the underlying nothingness. One can imagine the weight of being as it splashes into the surrounding sea of molecules.
Interview on International Streaming Festival for Audio/Visual Art