Looking at the museological strategies of representing cultural history, I am curious how “objectivity has remained a dominant ideal." Through subverting representations of objective linear histories, autonomous forms, and definitive illusions that objects are succinct representations of culture, the museum becomes a vibrating ground of designated thinking time. Once the viewer acknowledges the spectrality of stone the entire world may
I will focus on the reading of objects as a model that inspires reverie. By capitalizing on the energetic potential of material form, my projects become charged mediums laden with the tension of imaginary energy and autonomous matter.
I propose that such experimentation between meaning and form can lead to a revolution in visual digestion which expands into the ways we see, define, and digest the world. Concrete, material aspects in life can become exponentially more profound if they are to become electrified through personal charges and looked at as flexible, composited forms. Daily experiences in walking, modifying our self-image, and thinking about images become points of potential re-enchantment.