My art practice takes a unique approach: I take contemporary post-colonial theory and instead of applying its concepts to community structures I apply them to a visual world. Cultural interactions in a society are alluded to by figure/figure interactions in a pictorial space. The result is a simple but complex conceptual representation. My artworks are a bisection of visual space that demand scrutiny and consideration. These visual interactions results in a third space that may allude either to a transcending greatness, understood within systems theory as how the sum may be greater than its parts, or to a deepening separation, understood within a zero-sum game as how one person's gain is equivalent to another person's loss.

My practice is executed using different media and incorporates a trinity of repetition, series, and ontological reduction through micro-, mesa-, and macro-viewpoints. At the micro-level, instead of discrete artworks, I make repetitive "captures" of a visual state each component piece simultaneously unique but also repetitive in nature. A batch of these "repeats" becomes a meso-viewpoint. These are configured as a “set” where I layer the inherent visual tones to create a complex visual chord; the balancing of chromaticism with disconnected neighboring tones. This process is repeated. With each iteration, another batch of "repeats", and another resulting "set". Gradually, these "sets" of "repeats" build on each other to provide a macro-viewpoint and a glimpse of a resulting continuum towards ontological reduction.

My artworks are exposed as individual objects to large-scale installations that are a polyptych of "sets" or enlargements of "captures" that are a deliberate configuration and visceral binding alluding to the third space cretaed within the work and also between the work and the spectator. The result is sense of balance but also depth to explore the tension, harmony, and contrast within. It has been said that my art "provides a fascinating instrument for reflection," and given contemporary political and social events, they offer an opportunity for critical observation.

Configuration 5

Configuration 5, 2017, digital installation. 5 × 11 LED matrix and Raspberry PI Zero displaying sequent 21 (a cycle of 2835 images that update approximatly every 500ms), 65mm × 30mm × 15mm.

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Configuration 4

Configuration Four, 2017, mixed media installation. A polyptych of 5 off giclée artworks (m8p23, m15p72, m14p18, m15p11, m15p29) configured in a 1 × 5 matrix, each artwork 48 cm × 45 cm image on 50 cm × 49 cm paper, in a bespoke acrylic frame, 50 cm × 245 cm.

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The individual pieces are:

Configuration 3

Configuration 3, 2017, mixed media. A polyptych of 225 off 89 mm × 89 mm original marbled (ink on paper) artworks arranged as a 1 × 9 matrix of sets, each set itself in a 5 × 5 matrix, floating in a bespoke acrylic structure, 50 cm × 441 cm.

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The sets within Configuration 3 are distillations of m4, m5, m8, m12, and m15.

Configuration 2

Configuration 2, 2017, is a diptych of two giclée prints, each an elraged detail from one of my marbling works that explore hybridity and third space.

The individual pieces are:

Configuration 1

Configuration 1, 2016, a composite piece with juxtaposed fiber sculptures and digital prints that is an exploration of hybridity, mimicry, and the third space.

Configuration 1, and the six pieces that it is made from, was on show in 2016 from July 14 to July 20 at the Camberwell College of Arts Postgraduate Summer Show 2016.

Photograph courtesy Clara Durán

The individual pieces are: