‘From whatever point he starts, whatever path he follows, modern man comes to the same conclusion: behind its visible appearances, life hides a meaning that is eternally inaccessible to penetration by the spirit that seeks for its discovery, caught in the dilemma of being aware that it is impossible to find it, and yet also impossible to renounce the hopeless quest.’
– Arthur Adamov, ‘Le refus’, L’Heure Nouvelle, no. II, 1946
This work is a manifestation of an on-going, detached yet acute observation of our natural surroundings and man’s visible intervention, especially in the form of structures.
Man-made structures have a tendency to feel threatening because of their scale, form and imposition yet at the same time they can be absurdly playful, reminiscent of fairgrounds and playgrounds.
I use this patriarchal notion of structure as a constant in trying to ascertain what my place is, both in the world and in society. This exploration is revealed through the composition of scenes or moments involving relationships and interactions between structures and found objects, both natural and man-made.
Plays by absurdist playwright Samuel Beckett such as ‘Waiting for Godot’, ‘Endgame’ and ‘Act Without Words I’ have formed the backdrop to my work, as have the deeply human artworks of Louise Bourgeois.
What results is a selection of works made (and frequently unmade) over a period of six months. They serve as evidence of the artist’s endless yet futile quest for meaning.