In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.

At its core is To the Cosmos and Back in 29 Steps, an instruction-based durational work that operates as both score and diagram. Borrowing the language of user manuals, industrial protocols, and scientific diagrams, I wish to frame the gallery space as a chamber set-up, through which the body travels like a mass in motion. The work proposes a simple but disorienting premise- that the body, by moving, curves the space around it. Each step becomes an attempt to register that impact. It will mark force, friction, interference, and return.

Working primarily in charcoal, I operate as a feedback loop creating an intermingling dance of intuition and analysis. Displacing the body to points of fatigue, the lines that emerge are not illustrations but residues of contact, prescribed to be in motion to make circular and elliptical tracings that mirror the arcs of arms, shifts of weight, and altered breath. The body becomes the reference for measurement. The wall becomes a membrane; the floor becomes a graph. Space is not a static backdrop but rather an active field.

My fascination with industrial machines comes from the time spent in my father’s factory, and reflects in the work I create. I remember watching in wonder of the sounds, the colours, the moving energy, beasts coming alive. The machine and the machine-operating body no longer separate, but an amalgamation of forms that curve in space and move in time. I wish to explore this dynamic flow between the organic and machine.

Chambers, valves, combustion, intake and output manifolds: as mechanical metaphors merge with organic processes of incubation, germination and creation. In between ecosystem, machine and organism, it yields a space transformed and lived. What appears rigid reveals permeability, what appears solid holds warmth.

Points of Cont(act) proposes the gallery as a site of transmission. Contact points form wherever body meets wall, gesture meets resistance, machine meets flesh. These points are neither fixed nor singular but pulsing sites of interaction. They shift with each iteration, each return. The cosmos invoked in To the Cosmos and Back in 29 Steps is not distant or celestial, it is immediate and generated through motion and proximity. 

In my practice man is also a machine and organism at the same time. While man can measure and move using the body as a tool, the final shape is more organic than defined. The industrial capacity of the body is examined by exerting the body patterns of movement like a human machine through fatigue. Thus drawing is not a static image but a movement extended in time. It is choreography, measurement, and memory. Through prolonged and continuous action, the body attempts to curve the hard edges of architecture, to inscribe presence onto systems that might otherwise appear impersonal. What remains are fields of interference. Evidence that space has been touched, stretched, and momentarily transformed.

Here, contact is not impact but exchange. Each mark signals a negotiation between the inside and outside, organism and apparatus, fatigue and persistence. The exhibition invites viewers not only to witness these zones, but to sense their own position within them.o consider how their bodies, too, enter the chamber, exert force, and quietly alter the field.

I want to recover the actions of the tangible to understand an increasingly intangible world. 

This unfolds through creating a vocabulary of actions based on past experiences, personal memories, and immediate surroundings. Each work contains the remnants of the previous one, every movement is a recovery from the body’s memory bank. 

Machines and the factory serve as inspiration points because my initial memories of movement and a collective energy come from there. 

Immediate surroundings, particularly the spaces that I choose to create work in/habit — creep into my work as markers of the real/tangible. My most immediate surrounding and most constant one is my own body. 

(We live in our minds, and occupy our body)

My body is both à space occupied, and an occupier of space. 

My body is à space occupied whose boundary is physically limited by my anatomy and intangibly by my perception. 

No longer just limited by my anatomy though maybe just inherently, physical boundaries extended through amplifiers, tools, machines, points of contact, touch. 

Constantly work to understand my presence in the world, through interactions. Interactions physically in space, with people, between things. In between bodies.

I understand the space around me through action, touch, and presence, through the physical presence of the moving body. In an increasingly fractured world, forms are born through an amalgamation and conjunction of the seemingly opposite or the glaringly contrary— forms that are at once organic and mechanical, inherent to the body yet also products of it. Understanding happens through making. Interacting happens through registering. Registering happens in loops.