A Confluence of Signs

I am not, but we are

These works are made through digital collage and sensorimotor gesture during a period of intense physical limitation. When my body could not move far, I learned to move differently. Once a week, with the help of my partner, I was taken to small, accessible forest places. I spent long stretches of time looking closely at tiny distances, at how difference accumulates within a few metres. These visits became a way back into movement, not through exertion, but through attention.

The figures in these works are not fixed sources. Some begin in fragments of catalog or media imagery. Many are invented. Bodies dissolve into shapes, and shapes borrow the logic of bodies. They overlap with place, with pattern, with digital noise, with vegetal and geological forms. Nothing stays neatly separate. The works sit in the unknown space between ground, figure, landscape, and signal.

The images are shaped by ideas of horizontal gene transfer, endosymbiosis, dispersal, and long-range signification. They trace how life travels, leaks, borrows, and recombines across boundaries that culture insists on keeping stable. Capital produces its own weather. Bodies absorb and transmit it. Landscapes enter muscle memory. Microbes, markets, and movement overlap.

These works formed as a way of staying in relation to a larger field when my own mobility was restricted. Looking became a form of movement. Tracing became a way of returning to the world without forcing the body to perform. Weather, chance, and pattern guided the compositions as much as intention.

At their core, these works refuse the idea of the isolated individual. They hold the body as a gathered condition, a temporary convergence of many histories, chemistries, climates, and desires moving through at once.

I am not, but we are.