ARTISTIC RESEARCH

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 tI am a practice-led and research-driven artist who, since 2016, designs and fabricates body-sculptures that produce sounds, turns objects into vital things by re-situating the mythical within contemporary settings, and performs with them live. The body-sculptures, is an artistic hybrid of multiple disciplines including: autobiography, philosophy, mythology, and history. My conceptual thought negotiates the state where objects are not yet identified, something I refer to as “pre-identification”. What interests me is to study how pre-identified objects breed perception. To reach this study, I relate to the perceptual state where the senses overwhelm the body to transgress cognition, and where noise manifests. I approach perception as an indeterminate organ produced by the complexities of the two elements: information andnoise
 
I conceive noise as an extended-body attached to information, and together, they sculpt what I refer to as Siamese-twins.  Through my creative work, I affiliate information and noise with Friedrich Nietzsche’s early philosophical thought found in the “Birth of Tragedy (1872)” about the Apollonian and the Dionysian (see portfolio p. 4-5). I am interested in the communication between the two that brings about the “in-between” state in perception: mind and body, self and an other, life and death, regression and liberation. For myself, this is the state where derealisation[i] – the state of mind where reality ruptures – occurs.  
 
I construct the Apollonian and Dionysian “in-betweenness” with the sound body-sculptures, and a thorough archival study on decentring practices found in John Cage’s “indeterminacy” and “chance operation” methods. The latter, are methods I proceed with to collect data, so as to synthesise new artworks and systems that negotiate the indeterminate state of things and structures. Overall, my creative research motivates me to examine the mind-body, and to re-situate its self-organization, sensorium and performance at the 21st c.
 
In 2020 I was granted a two-year working grant from Kone Foundation to commence my artistic work titled “Siamese twins: artistic work that explores the synthesis of Apolline (information) and Dionysiac (noise) through fabricating performative sound sculptures and sound compositions”. Please refer to section 5, CV, and portfolio for further info on the artistic work’s accomplishments and current status.

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[i] Psychologists, psychiatrists, and neurologists describe derealisation as an “alteration in the perception of one’s surroundings so that a sense of the reality of the external world is lost” and as a sensation that “happens outside the self” (Coons 1996).  During a derealised state, the environment and the people within it fade away, disappear, are unreal, distorted or seem foreign to the person who undergoes its effect.  Derealisation gives the person who experiences it the sense of being unable to recognise, to reach or even exist within the actual and the real. (Steinberg, 1993 according to Coons 1996; Pinto, Neville, et. al 2017; Treuman 1984; American Psychiatric Association [1987] according to Coons 1996).

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