Visual artist, and curator; I am a practice-led research-driven artist who fabricates performative sound sculptures. Through my creative research, I create mythical characters (creatures) embodied in the performative sound sculptures, and together they constitute a hybrid between three elements: performance, sound, and sculpture. Often, my sculptures (creatures) are central to my live performances. My conceptual thought negotiates the state where objects are not yet identified. I question how the state before identification (pre-identification) brings about perception. I relate to the moment where perception is under-developed: the state where the senses captivate the body, allow it to leap beyond the intellect, and where noise emerges.
I approach perception as an immaterial entity produced by the two elements: information and noise. I conceive noise as an extended-body attached to information, and together, they sculpt one body.  The transmission between information and noise brings about the “in-between” state of perception.  In other words, the state where distortions, derealisation, hallucinations, and illusions emerge.  The state “in-between” arises from Friedrich Nietzsche’s early philosophical thought found in the “Birth of Tragedy (1872)” related to the two entities, the Apollonian and the Dionysian.  
Through my creative research, I flexibly conceive the Apollonian as information and the Dionysian as noise.  I study how the Dionysian (noise) allow one come in contact with the body and liberate it from the structural thought, representation, symbols, and mental associations.  I actualise the entities’ affiliation with information and noise by thoroughly studying and developing the “indeterminacy” and “chance” methods of the 1960s.  The creative research, allows me to re-think and re-situate the body, as if it is a creature that communicates through movement and the sounds of noise.
Currently, I question how can one re-think Happenings, performance art and the body with the potential to create new methods of identifying the three through the fabrication of performative sound sculptures? How can one create new means through experiments, and how can these means transform the body into an exquisite corpse (gendered-free) hybrid where movement is in constant production with sound?

performance, live art, visual art, sculpture, sound, experimental art, philosophy, mythology, noise, ritual, body