Despite having studied sculpture at degree level, gradually my work has shifted towards the general concerns of image theory and digital technology. Alongside this shift in my making practice, the scope of my research has also developed. Whereas at art school I was interested in themes pertaining to the rural and the bucolic, currently my reading broadly circles around computational infrastructures, communication technologies and planetary logistics – looking at figures such as Benjamin Bratton, Keller Easterling, Jodi Dean, Lawrence Lek and organizations such as the Strelka Institute in Moscow.
It’s difficult for me to give a coherent account of this quite radical change in the outlook of my practice. Having moved into full-time work after graduation, I was unable to maintain a consistent stream of thought in regards to my work. What I can say is this: I’m currently interested in locating the altered forms of subjectivity that occur within a decidedly non-human, digital terrain; undertaking, what one could call, a phenomenology of the Post-Anthropocene. Whilst I’m unsure of how such interests corre- late with what I have recently made, I can express that I wish to merge these research areas with a more materially expanded way of practicing – in the hopes of making work that looks a little less like it was made by someone hunched over their laptop for hours.