Manifesto.

My practice concerns issues relating to identity politics, the every-day mundane, technology as a gateway into differing realities and art as a democratic means. The storing and handling of information(s) and (ir)rational responses also tease my interests, so the processes involved in acting upon something is a factor that often comes up. Themes that seem to be incorporated more often than not involve some notions of nationalism and totalitarianism. I work in various media, but am most interested in objects or processes that demand deconstruction and spatio-(physical) trajectories, so (digital) interactive media have been at the forefront.

With all my works I try to rethink the ways in which meaning is made in (especially popul[ar|ist]) media and what those messages/meanings are or imply. I am deeply concerned about how (my) art(works) can become an integral part or complement to everyday civil, democratic life as opposed to being set in decontextualized spaces that are outside the effective critical range of my projects. They should ideally be put in the places where people normally interact with these media or otherwise simulate conditions pertaining to the process' form of existence. When creating blank spaces I believe the invoking of ready-made realities into the hermetic are important if possible. For some of my ideas, I wish for them to become passive, ambient or possibly useless: noise.

Statement.

My interactive work examines closed, narrow systems where permissions and acceptable actions are carefully monitored to create content that is actively perverted or biased – being a sort of joke unto itself by various means of acute self-referentiality. I make into simulations those events and situations – sometimes 'ordinary' and sometimes dramatical – that may be common realities for many, but are external and unreachable for many others. Realtime 3D gives me the possibility to emulate and enact that 'which is not already', yet they can relate to the outside reality. Because interactive digital media are so bounded to the realm of semiotics derived from videogames, I often disassemble a range of modern and classic gaming conventions to create a middle-ground where critical readings are possible, yet are formed by previous material in some sense. This heightened visibility of otherwise implicit ideologies and readings makes clear what “games” can or do not represent as choices, leading the user-interactor to question the very essence of the work itself. Moralistic and binary readings become diffuse instances of action-in-space: One cannot win but merely exist and act. I hope they will instead be as boring as life, freed from the excitement of the spectacular, populist.