I’m intrigued by materials linked to the consumer purchase, the residue of disposable components, which are used to transport and protect the objects of our desire.
We live in a society of mass production whose members have an unabated devotion to consumerism, accompanied by brief contentment, security, and a sense of identity, before something newer, and better comes our way.
Within my work I explore the possibility of using the discarded object as it may have dreamt of being.
Using the tactical processes of bricolage[1] and braconnage,[2] I also consider the role of art, the everyday and the institution of the museum, employing humour, parody, and the absurd.
[1] The French word bricolage translates in English to Do-It-Yourself. within the visual arts bricolage is used to refer to the construction or creation of a work by the fitting together of parts and pieces in a contingent manner. The bricoleur uses a diverse range of everyday objects that happen to be available and may also refer to a work created by such a process. The materials of the bricoleur also play an important role in the creation of a work. Items are mostly recycled, found, or pilfered. Materials remain intact and recognizable, and not always related to the specific project, but bring with them their associated history of use. www.english.upenn.edu/~jenglish/Courses/mileaf.html. Retrieved March 15th 2010.
[2] Braconnage, (poaching) is a less simplistic than bricolage and is bound up in memories and successive knowledge fragments. Certeau describes Braconnage as “a kind of everyday magic, a tactical form of making do” Applin, J. (2008). Bric-a Brac; Art Journal. London: CAA Publications.
