Your way of life and your practice have a lot to do with movement. Whether it's
about place, pace, or aesthetic, movement is constant. Can you elaborate on your connection to and
investigation of mobility? Where and when did this originate? What about the distance movement
I don’t know where it originated, to be honest. I’ve always been an explorer and I’ve always been able to
kind of “crack the code” behind things to be able to see or embody multiple views at once, and find the
patterns between them.
The movement in my practice is a reflection of my own movement between states of consciousness and
body, moods, seasons, identities/roles and cultural territories (or hegemonies), which are just as much
internal as external. If we’re hunting for flexibility and expansiveness, or a more meta understanding of our
world, it’s important to feel and understand as many contexts and systems as possible, especially the ones
that particularly speak to us in some way. I guess it’s essentially just pluralism? Being holistic? I like to
give each seed its own space to grow however it wants, and I like to diversify my inner
ecosystem—monocultures aren’t healthy :)
In terms of physical travel, the further I go, the more the world reveals that there’s even more to find. It’s
endless. My particular interest is in understanding civilization, which is really our biggest meta art project.
It’s the source code to so many things and I really love unearthing the scripts behind cultural forms. It helps
you innovate and jailbreak your own references, but it also helps you feel kinship with all kinds of creators
Beyond that, movement is an essential component of life. Movement IS life on so many levels.
As for distance, some days distance is just a number. But that’s not to say I don’t respect its hardcore
materiality and logistics. It depends what realm you’re working in. It’s not as Utopian as “oh the world is
borderless now!”. Time, place and context are still very real and very heavy. This is something you feel
more as you go to older places where the systems still have a lot of weight. Still, though, the fastest
material isn’t light…it’s mind (or heart.)
One aspect of your practice is its spiritual notion. To me, it emerges in your music, individual pieces,
and in your use of text in project descriptions. Can you describe your
investigation and personal connection that drives this spiritual energy into your practice?
Spiritual practices were dominant forces in the creation of art, music, stories and language for most of our
time here. They’re worth understanding. I’ve always looked at spiritual things with a focus on Eastern
philosophies. Traveling in South Asia especially has renewed my interest in these concepts and forms. I’m
deeply invested in them--I find them all to be genius inventions which employ rituals and aesthetics to great
effect. They’ve been intensely cultivated and evolved for so long. There’s a reason why they work on
humans, which unfortunately is the same reason they are often used for conflict, and you have to be able to
look at theosophies with a pragmatic eye of course, but the essence of many global spiritual practices is the
same, despite being expressed through different languages.
In many ways I think art forms naturally grow toward larger “systems of being”. Many of my projects are
turning into those, into entire worlds and beings of their own…so that when you see one aspect of it, one
“piece”, it becomes clear there’s a deeper ontology at play underneath.
Connection & Space
In your text for Native Arrangement II, you speak of "new hybridized free zones and languages". In
one aspect, your practice as an artist is the creation of abstract spaces in which ideas and objects
entangle themselves. The other aspect is your creation of artworks embodying this entanglement in
different iterations -- sometimes over years and in very different situations and locations. What is
going through your head as you create these spaces?
Whenever I make an object or a space, they’re all coming from a “zone”, an internal territory I have
sectioned off and created for them--those seeds I mentioned before. Sometimes they even hybridize with
each other. These can also function as an identity or avatar, or simply a kind of aesthetic/conceptual
system, a palette. I think at some point my career is what has forced these to be so organized, and for a long
time many of them were memetically shared via my websites and feeds, as well as in real life. Other artists
have used them, too, and even called them “codes which can be used”. This is why I should probably
document them more thoroughly!