"Through my artistic practice I have been exploring fracturing movements in both artificial and natural materials. What specifically intrigues me is the tension between intentional acts, such as cutting into the material, and uncontrolled accidents, such as fractures. Through the will to control, the fractures develop and are liberated as the material inevitably cracks in release. The lines, fractures and cuts visible in my work are always the result of repetitive gestures performed on the material and its responsive language. They evoke a sort of geological archive, based on a succession of bodily actions or events. This perspective, that craft interplays with the wilderness found in materials, clashes with classic notions which consider it to be the exercise of masterly control over materials and techniques. Whilst the cut is a premeditated decision, the fracture is partially out of my control since I can never entirely control its shape and intensity within the material. From this non-anthropocentric view, skill is being reinterpreted as a way to relate to materials and landscapes. As I metabolise the crack in my practice, I sporadically feel in tune with it. Whilst creating stages for materials to perform on, establishing a relationship of authorship, I look at myself as an intermediator, as someone who initiates actions that end up having a will of their own."
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