Image: Hand Lance © Eric Lesdema
“Whilst one uses a chair it is constricted to service one. What then happens when the chair disappears from the field of vision, field of prospect? Does the chair gradually disappear? Would the raw material be insubordinate to the totality of the chair?
The chair slipping away from the field of vision is an indictment of its retinal autonomy. Could the entoptic image of the chair impressed onto the back of the eyelids be similar to the bang experienced by pilots traveling and breaking the sound barrier?
Could the experience of retinal capability be the warranted imputation of the object’s alliteration when moving throughout space and time?
Could the human-eye-mind deviate from the definite emotional bias in favour of certain parts which contribute the reality scene before it and prefer to calmly ignore what it doesn’t like?
Could this discrimination become the cause of irritation and consequently behold the gift to see too much too deep with or without conscious selection.
These are questions to which one seek’s meaning either as a perspective or a solidity and a depth which could inform a practice. But the light is mainly coming from behind and a large part of the subject must never by necessity be in the shadow but allowed through discipline and methodical rigour to emphasise the variation and tone of these ideas in order to not reduce their existence into subdued simplified experience."
(Extracted from a letter to the late Professor R L Gregory 2006 reproduced in Drowning The Moon.)
An artist whose works includes performance, installation and photography. Currently investigating “Isotechnography” as the subject of a PhD research with Roy Ascot’s “Planetary Collegium”. He was awarded the UN Nikon World Prize For Photography in 1997 and continues to collaborate on projects with galleries and museums.
A recording of Drowning The Moon was exhibited in The Astrologer Who Fell Into The Well as CAS Osaka.