I am interested in generating a spontaneous communi(cati)on between myself and an audience using a performance in which I function as a channel by which a recorded history of what was previously known but became unknown in the past becomes uncannily known again in the present, only to become unknown again at the end of the performance. Each of my performances is a mythopoetic product of organic processes which depend not only on the different modes of sensory perception of my body of unambiguous (i.e. explicit and literal) and ambiguous (i.e. implicit and metaphorical) processes and events taking place in my multisensory perceptions of the sensible world; but also on the individual (mental and bodily sensory) and collective (cultural) memory-images I derive from both these different modes of perception and my diasporic experiences.  

My processes of production of such a mythopoetic artwork may be conceived in terms of a life-cycle in which the ‘ancestral life’ of a recorded history that was previously unknown – and therefore ‘alien’ – to me and the audience becomes known via the artwork, only to become unknown again at the end of the performance.

I use my artworks to explore the unstable boundary distinctions between my human ‘subjective self’ and the non-human ‘objective other’ materials of nature with which I conjointly produce such artworks. An attendee of one of my performances may experience both an enhanced/impaired distinction between his/her ‘self’ and the ancestral life of the ‘other’ in a (sub)liminal ‘zone’ of perception that was previously forbidden to him/her, and attribute unambiguous and ambiguous meanings to this ‘other’ life.