On Time and Timelessness



To conceive of work that neither exists in the past, present or future is to ask questions about time itself. Work should not be reliant on a ‘design’ fad or trend but be able to exist at once as a marking of its own time, its heritage and evoke future fantasies. This imagining of past or future brings about a questioning of probable or improbable presences.



Transcend real-world boundaries

Neither- past - present - future

Out of Time

Evoking other worlds

New Worlds

floating world- aerial, weightless, incandescent, cosmic

Crossing thresholds

beyond human perception and immortality

Leading to Infinity

A Synthesised reaiity

Inspiring awe

Evoking wonder


No static experience

The experience is the ‘thing’, the experience is ‘the object

The viewer is an active participant

 Accepting perception as a negotiable, fabricated truth 

Action = Perception

Intuition into feeling, feeling into thinking, thinking into ideas, ideas into words, words into muscles, muscles into action 

ACTION- Doing doing don’t stop!

All is vibrating

A sense-grabbing energy

Illusions are real

take nothing for granted 

A reality machine

Seductive, spectacular, memorable

Create realms of pure perception

Allowing for reflective experience

Seeing the unseen

Make the intangible tangible

Feeling is believing 

Feelings are facts


A. R. T

Real World Boundaries or Transgressive Energy

There is an element of impossibility that challenges ones in-built understanding of the laws of physics. Mind-bending questioning that in itself makes us re-orient ourselves in the world and all our pre-conceptions of it. In this way, new worlds are created and opened up in which vision and experience is not limited by human perception.

Object vs. Experience

To accept that the experience is itself the ‘object’ and that this may not have a tangible or material presence but is quantified in its ability to excite emotions and feelings within spectators that are felt individually and collectively.

Action and Perception

Accepting that perceiving is a fully embodied experience that does not only exist through the senses in the mind but that is felt through ones entire body and its positioning in relation to the world around it and its movement in relation to the given space. In this way, evoking movement is to enhance an experience beyond the passive disembodied eye into the active engaged sensitive being.


Questioning the notion of beginning and end is perhaps the most fundamental question to all human existence. Works that evoke this sensation, position us in a state of suspension and dilation, neither here nor there, in this world or another, free of fears and real-world restrictions.

Fabricated Truth

By creating scenarios that question fundamental pre-conceptions we accept and are made aware of the fact that perception is a fabricated communal truth that is actually in constant vibration, ready to be questioned and challenged at any given moment.  

Seeing the Unseen

If we can accept that our visual perception is limited to less than one percent of the entire electro-magnetic spectrum, we can accept that there are whole worlds that exist that we do not know or have the sensual faculties to perceive.

Zones of Experience

Although perception is something we are constantly involved in whether consciously or unconsciously, by creating spaces and ‘zones’ with the sole focus on heightening our perceptual faculties,  we open up the possibility for reflection on the process of perception itself, in this way, ‘seeing oneself see’.

Alone and Together

Understanding that experiences perceived individually and those experienced with someone else, as part of a group or collective are all different, they require different permeters and thought. The notion of being truly ‘alone’ is something we are less and less accustomed to in a world of populated urban environments and networked social media, offering an immediate audience at the click of a button.

OH-SHIT Everyday

By creating mind-bending, unfathomable perceptual experiences of a sensory given we are able to emphasize the most minute perceptual shifts in daily life. Awareness of what we are perceiving is at the same time awareness of ourselves.

Virtually Real

Preconceptions of the ‘real’ being somewhat superior to the virtual is an outdated notion as the virtual becomes part of our everyday experience. The blurring of these two faculties deliberately undermines the ‘real’ as something fabricated, subjective and in constant motion.

Chance Encounter

Introducing an element of chance, serendipity and ‘luck’ highlights the chance-nature of our everyday experience. Any slight shift and all is not as it was before.


Deliberately using magic and trickery to invite reflection on perception as a mental operation, the brain as mechanism with its possibility to err.

Experience as Theatre

It is theatrical in a sense that it is concerned with the circumstances and whole space in which the beholder encounters the work- the experience of an object in a situation ‘includes the perceiver’ and thus warping the perspective of viewer to object.

Object and Spectator

With the use of interactivity and detection devices, the traditional notions of object and spectator are challenged. Who see’s who? your presence has consequences and is vital for the work to exist.  

Intermediary between truth and the world

Either as perception shifting device or space of reflection, the ideal is the creation of a zone/moment of pure perception where focus is attuned to perception and the act of perceiving itself.

Universal Language

Not undermining our individuality but embracing the ability to speak and tap into universal truths and understandings that are not specific to an education, class, culture or even age but universally felt and understood due to tapping into fundamental principles of what it means to be human.

Atmosphere of the in-between

To think about atmosphere, is to think about the in-between space that exists between the embodied subject and the perceptible surrounding space. This space can exist between things, people and surroundings and the interplay of elements of  both a primary nature, form, volume and scale even secondary ecstasies of color, smell and sound.


The world is in perpetual motion. Situated within a process of constant change and vibration. In physics their are no solids, only high frequency event fields. This creates a perpetual energy and a constant possibility for things to be different.

Confusion as a necessary state of understanding

Not to question, is to be complacent to all that is yet to be explained. There are no absolute givens. In science facts are perpetually proven and disproven.