The intention of the work, Stepping Into Self, is about three simple words, wall, floor, and dialog. I felt that this way of thinking would allow me into have a relationship with the work, deepening in thought, I felt that this way of perception would allow me to turn off the process of systematic thinking that I tend to commandeer. The work should not be dictated by something that is written down in hard writing or sketched. I didn’t want this host of thought to attach itself to the work. The work became its own; it began telling me what it wanted to do rather than me dictating what the work needed to be.
Now I have faced myself with a delightful dilemma, the thought of when does the poetics of space begin to fall apart, deconstruct, and fail in the act of reasoning of perception in visual phenomenon.
The wall work is dealing with the perception of the body and the connectivity of three. There are three lines, two connecting contact points and the same relationships that can be found in relationships within the body. The body has two arms, two shoulders, and connects at contact points.
Once I found a wall relationship with the body, I needed a grounding floor relationship. The singular thought of “I” or the human form is singular and linear. I resorted to using a pedestal and began deconstructing it, by the means in which the body might fall apart. Also in this vein there is an investment towards shape and how the body consolidates its self in using shapes to form a visual world. ®