My work moves in between installation and performance, and is most always audiovisual and spatial in nature. The nature of human perception, individual and collective consciousness and the role of perception inform my practice.
My approach is interdisciplinary. My artistic process is also informed by my early and continuing interest in architecture, by how our experience of space is central to our being. Equally foundational is the concept of the Gesamtkunstwerk - the all encompassing (now digital) universal art form.
My work routine embraces ephemeral and experimental processes, both by choice and by necessity - the essence of digital media being ephemeral and fluid.
I am interested less in experimenting per se but rather in the intellectual challenges of the unforeseeable, the unintended consequences of entering unfamiliar territory, and the risk of failure and crisis that come with the territory.
This led to questions about cognitive processes in the human brain, meaning the way in which we take in and digest the outside world and how we then establish an interpretation of that world. This is always colored by one’s cultural background, education, imagination, subjectivity, general mood and one’s individual identity.
Looking back on how dramatically the planet has changed in my life time, one of my recent bodies of work reflects on changing ideas of nature and artifice from a post-utopian, post science-fiction position. The dynamic process of civilization (or, as Norbert Elias has called it, The Civilizing Process) remains a major interest to me.
The need to analyze, discover and to invent seems to be an essential part of being human. It necessarily cultivates in me an ability to abandon, discard and update existing opinions and ideas. I believe that being non-dogmatic along with an abundance of skepticism, creates progress. Throughout my practice, I have built a habit of questioning institutional and cultural frameworks, including our life with an increasingly dominant role of digital technology.
Above all, I am invested in creating authentic and emotionally resonating experiences. While I am biased towards work that is overwhelming and sensual, I find that art that lacks intellectual complexity is meaningless. I prefer work that is weird, enigmatic, and bewildering at first, but keeps me engaged and is feeding my mind long after encountering it.
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Photo: Martin Steffen
My approach is interdisciplinary. My artistic process is also informed by my early and continuing interest in architecture, by how our experience of space is central to our being. Equally foundational is the concept of the Gesamtkunstwerk - the all encompassing (now digital) universal art form.
My work routine embraces ephemeral and experimental processes, both by choice and by necessity - the essence of digital media being ephemeral and fluid.
I am interested less in experimenting per se but rather in the intellectual challenges of the unforeseeable, the unintended consequences of entering unfamiliar territory, and the risk of failure and crisis that come with the territory.
This led to questions about cognitive processes in the human brain, meaning the way in which we take in and digest the outside world and how we then establish an interpretation of that world. This is always colored by one’s cultural background, education, imagination, subjectivity, general mood and one’s individual identity.
Looking back on how dramatically the planet has changed in my life time, one of my recent bodies of work reflects on changing ideas of nature and artifice from a post-utopian, post science-fiction position. The dynamic process of civilization (or, as Norbert Elias has called it, The Civilizing Process) remains a major interest to me.
The need to analyze, discover and to invent seems to be an essential part of being human. It necessarily cultivates in me an ability to abandon, discard and update existing opinions and ideas. I believe that being non-dogmatic along with an abundance of skepticism, creates progress. Throughout my practice, I have built a habit of questioning institutional and cultural frameworks, including our life with an increasingly dominant role of digital technology.
Above all, I am invested in creating authentic and emotionally resonating experiences. While I am biased towards work that is overwhelming and sensual, I find that art that lacks intellectual complexity is meaningless. I prefer work that is weird, enigmatic, and bewildering at first, but keeps me engaged and is feeding my mind long after encountering it.
Photo: Martin Steffen