My current studio practice focuses on the idea of the multiplicity of fragmented storytelling, where connections and conclusions are not definitive, but where the focus is instead placed on the numerous possibilities of what the story can be. These stories are both non-linear and wordless. Ideally, this form of storytelling serves as an exploratory narrative, where the viewer/reader analyzes the given images, actively discovering and piecing together their own narrative. By filling in the gaps between the images, the viewer can assign language and formulate a cohesive story based on their own assumptions and ideas. The images presented in my work therefore exist as fragments that have the potential to be synthesized into a whole, not as told by myself, but as completed by the viewer.
My narrative interests are currently explored through drawing-based installation. Two-dimensional and three-dimensional surfaces are used as a base for ink and watercolour drawings. The two-dimensional drawings depict the characters and the more action-oriented or fantastical elements of the narrative. The flat surface of the paper can be seen as something that exists separately from the human body in its undefined two-dimensional space (the traditional drawing space) and may therefore appeal more to the imaginative space of the mind. The three-dimensional drawings are constructed mostly from foam-core bases that are covered with paper and then drawn over. These three-dimensional elements are more related to the object realm and primarily function as narrative remnants from the two-dimensional drawings. They are images/details that have been lifted off the surface of the paper and have entered into the real space in which the viewer’s body also inhabits.