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Artist Statement

Derivatives explores methods of assemblage used such they create a new reality in the patterned object. as a “thing”—as object rather than as subject—which " I make, remake and un-
to construct image and form based on themes of Deviations from traditional landscape image making permits a more critical posthuman understanding of our
environmental crisis, our relationship with the natural world, posit landscape alternatives or Derivative(s), as the title relationship with the planet. Eva Horn and Bruno Latour make my concepts along
and identity and belonging. of the exhibition suggests. call for a nonhuman–turn and more critical engagement
I have walked along the Westdene spruit with my The wall of multiple and differentiated landscapes with objects, and for a commitment to disrupting a moving horizon, from an
dogs over the past four years, averaging five kilometers titled How Landscape Thinks, derives from Eduardo and challenging the dominance of Anthropocentric
per day. Every other day, I drink coffee from a disposable Kohn’s position that rhizomatically interconnected discourse by displacing the human from the core of our always decentered centre,
paper cup. I recycle the cup as a container in which I wash forests “think” and from his ideas of what it means to understanding.
brushes used in my daily practice of watercolour drawing. be human. Rosi Braidotti’s notion of the posthuman Each work in the installation distorts pictorial space, from an always displaced
Each moment the brushes are cleaned or loaded in condition suggests that we are merging with the which repeatedly shifts/decenters the viewer’s vantage
this ritual is recorded as a stain on the inside wall of the cup. environment. She believes that sustaining the project point. It thereby speculates an object-oriented ontology, periphery which repeats
Deposits of pigment accumulating on the paper assemble of life demands the collapse of the hierarchical where the theory of everything connects the universe
a material record and thereby a visual expression of a paradigms describing our relationship with the at a molecular level. Nature can no longer be totally and differentiates them. "
process largely decided by chance. Deconstructing and natural world, and thus relinquishing humans’ desire/ subsumed by aesthetic or scientific representation,
opening the cups reveal images resembling landscapes need to control the environment. Derivatives(s) nor adequately expressed in classical western terms. — (DELEUZE, 1994)
that challenge the traditional modes of landscape attempts to flatten relationships among the reality An unsettled representation of the landscape places
representation. of the landscape, the materiality of the object and the viewer in a position of uncertainty in relation to their
The repetition of marks and images in this the viewers necessarily subjective interpretation of environment. A different nature emerges—one that is
automatic image-making process is never identical. Rather landscape representation. manifold, complex, interdependent, interconnected,
there is only difference, where each stratum of data is new The convex curve of the cup echoes the and entangled in the fabric of life (see Horn and
and constantly generates previously unseen patterns. As curvature of the earth. The landscape is described Bergthaller 2020).

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