I am embroiled in a herculean task. I seek to kill the Hydra, that unkillable corporate/industrial, decentralized behemoth whose tendrils now infiltrate every corner of this geodesic, even into our genetic code. My chosen weapon is one which has no fixed form. Mercurial as a fringe of sun through the half closed eye, my weapon is myself. My art is the making of myself a weapon, and all the objects which fall away from my hand, all the networks that I weave and build, what to your eye seems to be art, are the ever more subtle waste products of this preparation.
My practice refers to the pre-seventeenth century definition of the word ‘art’: science, magic, the aesthetic arts, martial mastery… all forms of mastery were rightfully recognized as co-equal in value. Starting from this semantic paleontology, I will recreate the necessary conditions for a true metamorphosis in human awareness of what can be done. I believe in impossible things, and ultimately, my desired tools shall be on the scale of social engineering.
I will employ this tool in order to perceive the interface of the human organism, to ease its passing through the coming changes.
Problematically, I am that which tends to remain hidden until the last possible moment. Because of this flaw, my sudden manifestos tend toward the incomprehensible, due to decades spent in solitary contemplation of my task. It is not my wish to bewilder the observer. In order to foster clarity, I must define new terms to fill the gaps in understanding.
Moving towards a theory of Monadic Volumetry, toward the possibility for a new utility in sculpture, one that more systematically employs the inherent potential of volume, substance and boundary, both actual and implied, to convey ideas too immediate for words or any non-volumetric discipline.