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I am interested in how we affect technology and how it is affecting us. For example, when I think about light in photographic process, I focus on what happens to it when taking an image. I am directed when and how to shoot by light’s behaviour in the moment. When I shoot I am affecting light, as I focus on it. I am interested in how the camera becomes like another eye. This way technologies of my own physical body and the camera connect and the experience of capturing an image is more about performance and time than making a durable object that is a piece of paper with a picture on it.
Although my practice has consistently looked at the human condition through movement or dance I am influenced by changing technologies. Video was once my medium of choice, more recently I am using AI ( in collaboration) digital and analogue pinhole photography and live performance (Opera, video and sound compositions) in public and gallery settings. I like to challenge how technologies are used and by creating set ups I learn about them - I learn what I don’t know while becoming aware of limitations inherent in algorithmic design in relation to the design of humans.
‘Seeing not Looking’ is a title from a story by Oliver Sacks in which two people underwent surgery to recover their sight yet only one person could see. Sacks suggested that to see you need to look. This work brings a sensor laden autonomous drone camera together with two performers in a studio setting. All three negotiate how they see each other - the question is can the drone camera ‘look’ and how does it ‘see’? The interchange between the three bodies unfolds over 7 minutes in this work.