Dear [USER NAME],
In conversation with [ARTWORK], consider your relationship to
[LOCATION]. As the virtual and actual collide, how will your understanding of [INFLUENCE/ HABIT/ AGENCY] be reframed?
The [VIDEO/ EVENT/ AUDIO/ TEXT] invites you to orientate yourself through gaps in narrative, multi-screen installations and unreliable facts. Often adopting the voice of the [INSTITUTION], mini audio-visual essays deconstruct the implications of context and trace unusual spatial narratives. What systems of logic do [YOU] use to map out your reality? And if these were multiplied, amplified and destabilized could the absurdity reveal new perspectives? [COLLABORATION] allows [ARTWORK] to shift typical systems of ownership and choice making. Interactive [SCULPTURES/EVENTS] reiterate these new relational possibilities, acting as a catalyst in considering the macro implications of the viewing experience that exist beyond the site. Could the artwork become an unrehearsed performance of the subject: ‘influence, habit & agency’?
 Methodology and process are increasingly important as I consider the relationship between propaganda, instruction and art.
 Consider Beckett’s play, Krapp’s Last Tape. Situating Krapp’s conflicted identity at the intersect of physical and virtual space, Beckett used technology and live performance to layer narratives, an effective method at revealing internal tensions and contradictions.
 If the width of a corridor can affect your mood, to what extent are your choices predetermined by the subtle design of your environment? Through performative subtitles and carefully constructed installations, I use Socratic dialogue as the framework to unpick these overlooked communications between location and body.
 This has informed several successful projects (Marion Phillini, FLAC Group, Flower Press) and continues to motivate research including a publication called The ‘C’ Word.