In my practice opacity, de-stabilisation and indeterminacy play an important role. These are manifest  firstly with the image itself, which in its selection includes a high degree of chance, and which subsequently undergoes various processes of modification. Secondly with the system of annotation - poetics, lists, diagrams, references and white space -  that surrounds the artwork. This latter develops a form of supplement after Derrida, which re-situates but also transcends the aesthetic object, implying at the same time a critique of its status. The idea is to establish that a document of two 'events' - source and supplement - creates an emergent third performative event that is neither art nor static commentary but a field of creative advance, in the processual tradition of Whitehead.

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Deartification marks the artist’s subtle compliance with the protocols of the art system: exhibition, authorship, visibility, value. Yet beneath this apparent conformity lies a deliberate erosion of the category of “art” itself. The work performs as art in order to unmake art from within—displacing aesthetic autonomy, and undoing the aura of the special and unique. Deartification thus names a form of resistance that is neither outside nor oppositional, but immanent and parasitic: the artwork inhabits its institutional host while quietly isolating assumptions about creativity, authorship, and value.

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