Wax & mirror things from the studio before all this happened

Drawings made at home using colour pencil, markers, pens on paper. Could be expanded into large scale drawings (currently A3 size) or continue to work in a series perhaps representing different rhythms - I'm not sure yet but they seem to be taking a shape of something.

I've been thinking & reading about
Synchronicity (Carl Jung) | Quantum Entaglements | TIME (who hasn't!?) | Astrology & Various Chart readings

How we experience time/how does time taste/ the texture of time/ time & (un)consciousness / How to represent time/ time through the birth chart - Solar Returns - Chart subsumptions - capturing momentary transits - drawing time,
drawing down time,
drawing upon time
drawing out time
Time drawn out

Collective consciousness & archetypes:

Chronic/Kaironic/Aionic Time

Chronos - Saturn - Ego - Chronological time - chronic time - linear - time as resource - death anxiety

Kairos - Uranus - Soul Time - Timeliness - creative - expansive - time of the soul - potentiality

Aion - Neptune - Unbounded - Sacred - Eternal - Infinite - "Aionic time is our immeasurable movement of experienctial intensificaiton toward our unique but no less cosmic destiny" Matthew Segall

Our individual rhythms and time signatures that we express and how our our psychic rhythms are in tune with the planetary rhythms and their cycles.

Each of us the micro to the macro of the Universe - "As Above, So Below"

Recently, I decided to understand my practice as a more flexible system which includes objects, text, sound, spoken-word performances as well as moving image and the constant interaction between these media within live-installations. Specifically, this means that I decided not to work towards individual pieces, but to continue my work as chapters that interact with each other; re-acting on specific situations, locations and contexts where the pieces are produced, stored or are shown. Within these chapters or situations, objects and materiality continuously shift, adapt and extend their meaning, purpose or aim – during my live interaction with them. Nowadays, the concept of uncertainty is a powerful, subversive tool in order to rise questions about understanding and to be confronted with oneself as an active (re-)producer of decisions and meanings, particularly by thinking about categorisation.

Within my practice the spectators are incorporated into the work rather than assuming a contemplative, passive role. The anonymity between spectators, work, space and myself in the roles of artist, author or producer dissolves. The process of making as well as the live-elements in my performances are documented and in
turn form a starting point for a new chapter. Additionally, I‘m interested in the loop as a concept, enabling a continuous re-interpretation of the work and each chapter. This re-interpretation does not happen through an active (physical) involvement of the spectators, but rather through a fragmentary narrative and the offer to believe this haptic narrative or to doubt it.

JCK

"The way that objects are produced in writing is elusive, almost covert. I still really love things and I still use found objects, so it’s not an entirely dematerialised practice, but it’s more about arranging spaces and being immersed in a struggle for material presence.

Initially I built a structural writing space around myself in the studio using cabinets, tables and all the ad-hoc stuff I could find. By the time I’d stacked up all that furniture and shelving there was very little room, but it was the peculiar constraints of that environment that ended up determining the dynamics for The Dark Object, my first book. I developed a series of stories about the space I’d created around me, the activity of writing, and the process of discovering writing to be a form of sculpture.

Fiction naturally raises questions about what’s real or not, it reflects on how things are constructed and how the material presence of things can be counterbalanced by an absence. I’m particularly interested in that paradox: how it produces something that we invest belief in, that operates as part of the everyday but that simultaneously declares itself a fabrication."

Katrina Palmer

'...this page is super slow and frustrating it's really hard to turn it; this page is so slimly; this is the wrong page; this page is so heavy.’ What is it to make an artist book about oneself? To construct a biography in which the formal structures and chapter divisions develop a narrative, into which the self dissolves?

Shahryar Nashat

Camille Henrot