My art practice revolves around the societally-ignored subjectivity of science, particularly in the fields of natural history and biology. It illustrates the battle between the human condition's desire for absolute truths and our natural inability to see interpret without bias. By using the form of antiquated records, which are often assumed to be absolute, through the authority of time, I draw attention to knowledge issues by juxtaposing scientific theories and their corresponding historical time periods.
My love for the quest towards knowledge and history also predisposes me to challenge the authority of the museum and the archive, which represent accumulated knowledge, but also unreachable answers. It is inspired by my interest in natural history and the formation of knowledge, for some of these beliefs were held firmly for a long time until cultural and technological changes led to different developments. This mindset of hoarding, shrouded wisdom, and antiquity all contribute to my works.
Here are some examples; my altered book, A Reaction to the Futility of Awareness, explores with the contradictory human condition of self-awareness and a rejection of the primal instincts that dictate the life of all other species. My intaglio etchings Abyss and First Bird try to define how we categorize ourselves as humans as compared to the rest of the animal kingdom, particularly through bones and how we study the fossil record to categorize other animals.