Technological sensory enhancement serves as an instrument of exposure. Investigating media applications as objects with malleable, and often veiled, preconditions can become a sociopolitical procedure, and I see art as an act of fracturing naturalized spaces. My method is one of breaking into diverse materials, searching for concealed portals. What are the limits of the technologies I utilize? Is my body a technology? Where can technology be misused, breached, or reshaped to locate alternative trajectories? Through schismatic and precarious situations I challenge the boundaries and filters of various physical and imagined bodies, which has served as a point of reference for intermedia performances, video works, constructed objects, and sonic exploration.
In recent years I have been producing work at-a-distance, which emphasizes the territory of the artist-operated mobile laboratory. Such a modular method bares witness to perceptually evocative objects/events that are grounded primarily in flexibility and mischievous study, obfuscating tools much of the time. I take inspiration from practices of re-mediating analog and digital apparatuses, in order to create channels for responsive aesthetic engagement. Shifting artistic research from proper technical use towards intuitive or “counter-productive” inquiry can lead to imaginaries that push against prefabricated, societal circumstances. I search for a way of laboring that gravitates around failure and rupture as anarchic knowledge production. Knowledge is always situated and enlivened through acts of friction. Can opening up the confines of a tool’s construction signal unique insight into human desire? This “any means necessary” attitude cultivates open-ended works that are superimposed against media archaeology, infrastructural interference, and social sculpture. Through re-purposing technological materials as anarchic prosthesis, out- of-kilter tactics for determining fieldwork and information retrieval have become necessary components of my practice.
These unconventional prosthetic studies occupy the intersections of social, conceptual and augmented realities, developed as a means of extending my sensorial “touch” within the world at large. There are many ways to achieve these outgrowths of the body, so I use obsolete and novel materials interchangeably to work out the results. Operating under a forensic drive to reveal specters and data hidden from plain view, I am guided by feral approaches to technology. While often privileging noise over signal, my actions take a position of sabotaging commodities in order to contort them towards these hidden, eccentric desires.