Sometimes it is simply impossible to convey an experience. I have seen this happen time and time again: this is perhaps the biggest challenge for the artist who works with intangible and ephemeral electronic signals. But this frustrating predicament is not insurmountable, there are always ways to overcome the impossible. (Isn’t that the greater challenge for the artist, or for anyone for that matter?)
So a few years ago I built a studio to solve precisely this predicament. I decided to create spontaneous studio experiences, to convey the otherworldly things that generally go unnoticed. I set about to activate the studio, not just as a place of creation, but as a laboratory for transformation – of media, things, objects, situations, and myself. In this alchemical laboratory, I attempt to push the possibilities of perception by dipping myself in electronic paint, as it were, and using myself as a canvas and a medium. In this way, I can transmit a direct sensory conduit between myself and the viewer.
And I can do this in real-time. Not only as a reconstructed simulation of bits and pieces of things slowly and meticulously assembled, but as a live situation: manipulated, performed, recorded, and archived all in one elongated gesture. Something like a one-man band, to capture the spontaneity of the gesture, the moment, the energy of making something and seeing it manifest without interruption or hesitation. Of course, it took years to make this possible, but then, that’s what it’s all about, finding an impossible means of showing what couldn’t possibly be shown by demonstrating what’s possible.