A continuous exercise of questioning the essence of ‘making’, first and foremost as an everyday activity, has ushered me into the depths of Cultural Theory. French thinker Henri Lefebvre was the first person to ever carry the everyday life onto the philosophical field of discussion. A trivial and repetitive routine for many, the everyday, has been since then, a discursive topic within the critical theory. Following Lefebvre’s footsteps, my work is primarily concerned with the epistemology of ordinary knowledge. As well as conjuring up a formalist argument referring to daily objects as sculptural forms with surface textures and spatial qualities, it also poses ontological questions pertaining to the existence of these objects around which we construct our corporeal reality.
Our value systems and identities are created at the intersection of humans and things, and that in this regard my practice is related to the notion of ‘thingness’. Spaces, language, images, and objects with which we construct our social reality are inherently precarious and ephemeral. Society, as a whole, acts as a disseminating device, helping solidify the reality we create through this interplay and root it in everyday acts. My practice is exactly about exploring the temporal – fleeting space between the production and solidification of knowledge, and wants to ask “what happens if we throw a spanner in the works?”
I work with cast out objects which are no longer functioning purposefully; while at the same time, aim to discuss the notion of art-making as a repetitive quotidian practice. The ongoing series of works “Idea Generating Machines” and “Anthropological Conjectures” define art-making as a tactical apparatus; they are created to unpack the sculptural and philosophical possibilities of discarded objects. The repeated gesture of applying plaster and pigment is intended to rid these objects of their practical connotations, to reduce them to their ‘thingness’ in order to redefine and reinterpret them, to form an illusion of mere physical material without a history or a beginning. They are then assemblaged within a state of non-hierarchical totality overriding the objects’ inherent characters and bestowing upon a rather arbitrary value. Idea Generating Machines revel in this disruptive, transitory phase whereby signs and signifiers of ‘things’ are thrown in disarray.
Likewise, the everyday is a hodgepodge of different experiences and perspectives, a clumsy assemblage of activities, rituals, notions and conceptions: with a continuous circular rhythm keeping together seemingly non-synchronous existences within its gravitational pull. The everyday is an ideological playground whereby invisible tools of control are in continuous operation. It is precariously recreated and re-performed through every single subjective viewpoint. The dual aspect of the everyday condition allows powerful manifestations of ideology (both historical and modern) to be silently enacted within collective urban spaces in which we experience life through simple daily rituals. Within my creative process, I intend to reveal the covertly oppressive characteristics of the everyday and the linguistic signification which renders this oppression invisible. Throughout this endeavour, I aim to raise a question about hegemonic mechanisms underpinning every aspect of our culture, shaping our critical knowledge of even the most mundane of things.