work focuses on understanding problems, with an awareness that the work of the artist lies in revealing false problems rather than solving real ones. Through his process he latches onto a piece of material, or a historical factoid, or the cultural baggage of an object, or a quirk of language, and becomes fascinated – obsessed until is reveals the mortal banality of its associations. Those associations – networks of the human intellectual emotional investment, vulgarly known as “meaning” – then find expression in reconfigurations of light, text, space, sound, and matter.
His residency project will centre around a quirk of history. 1492, a year practically synonymous with colonial expansionism, is the same year that the Arches paper company was founded in France. Arches paper, since, have been a much-coveted artist’s supply, a way of letting that most bourgeois-democratic of materials (printing paper) connote the luxury and opulence of European imperial-ecclesiastical power; paper more generally ties itself to colonial power as the map that charts the territory, and the constant “proof” of ownership.