The structures of the past – the personal and the political, the real and the virtual, art and life – all disintegrate within the accelerating history of capital. Crisis and conflict occupy the landscape of the everyday, and the question of art manifests not as ‘how is it that we can experience the world?’ or ‘how is it that we can represent the world’, but rather ‘how is it that we can transform the world?’. It is in art’s capacity to shape participants, and in participants’ capacity to shape art, that we find the seeds of new futures. If the world was once made, it would not only follow that it can be unmade, but also that potentials exist to make new ones. 

If there were to be a program for contemporary art, it would have to be a program for the transformation of life itself. As long as art (and life) remain fixed within the logic of modernity, the desert of crisis will deepen and the latent promise of our desires will diminish. In the geography of crisis, there is nothing to lose. From this position, as artists, opportunity unfolds to move from crisis to desire, from violence to life.

With these thoughts in mind, I work. With every crisis, with every conflict, with every violence, possibilities for new beauties and truths emerge to resist. By exposing conflict and by proliferating situations where new types of relationships can become material outside of crisis, I hope my work operates to further dismantle the structures of the past and to glimpse horizons of potential futures.