I began as an installation artist and then took up architecture to explore ideas at large scale, in a public environment. For me, there is a continuum - both pragmatic and conceptual - between the disciplines. It includes structural space and objects, but extends to movement and light, and most importantly to how we humans occupy a place. It includes emotional and intuitive experience.
I hope so. We live in a time in which the global socio-technical ecosystem is evolving at lightning speed. Advances in technology have played a large part in this. But as much as a catalyst of change, technology can also be a tool for understanding this change within the context of human experience. I believe there is poetry in our relationship with technology to be discovered.
In daily life, we have always moved seamlessly between the physical and thought and imagination, integrating them. Emerging technologies offer new tools to do that.
If I could go back in time, I’d choose Joseph Beuys for his innovative communion with his materials, including an unpredictable coyote, or John Cage and his Chance Music. I admire each for his faith in the intuition and integrity of the general public.
There’s a step by step process that is rooted in the concept and the demands of production and presentation. But there’s a parallel process that is much more fluid - not sequential or controlled. And together they make the art. So in a way, it’s like a dance between a mirage and a machine.
I have always been interested in the ephemeral. Initially I did explorations with light. Then I experimented with holograms, then projection. Now I am working with kinetic structures. I have sought out new technologies - not as an exploration of the technology itself, but more as a tool - as a means to push boundaries, experiment. A way to work with content that was ephemeral, dynamic - like thought.