The Expanded Moment

In my work I often return to previous ideas and develop them in combination with one another. my current work comes from an interest in questioning the boundaries between reality and fiction, the sensitivity of context and the role of the audience in the reception of a work, and notions of truth content in the work of art.

In earlier pieces such as 'HAZARD PARALLAX' (1997), '666 Zlotych' (1999) and 'I FIND YOUR LACK OF FAITH DISTURBING' (2004) I found that the movement and attitude of the viewer became integral to the work. I am interested in this movement, in persuading the viewer or participant to change their viewpoint, come closer, circle, stand back. With movement comes time, and a longer time means a greater engagement with the work.

By attitude I mean that works placed outside of the gallery context can provoke a surprise in the viewer, and such works are often not treated with the reverence that a gallery context confers. The gallery is a privileged site of cultural presentation, but it is also a site where one expects a certain 'fictive state' to exist. Without prior knowledge that what one is viewing is a fiction, a work can effect a belief, then problematise that belief much more effectively. I am interested in producing an expanded moment between the viewer's conviction in a grounded reality and a state of uncertainty or doubt when confronted with the work. The work must therefore appear 'truthful', or accord with reality before destabilising it.

My challenge is in developing this work without an over-determination of meaning, and leaving space for the imagination of the viewer to play during this expanded state of uncertainty.

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