Imagine a house that has four external façades that are each slightly different from one another. One façade might have an extra window, the other could have a door, they may be painted all different colours, but what matters is that they are raised by the same foundation and sustain the same roof. You are invited to view the house externally, like a curious mouse.

The first façade you encounter is covered by installation and sculptural work, and, for some reason, you know it is the most recent façade. It comments on the interaction between the internet and the domestic space: and the cursor (mouse) reminds you of ways of navigating the two spaces. In this façade you explore a variety of processed materials such as steel, concrete, and MDF. These materials allow to build a conversation
around control, human error, and perfection, but also the mouse as an extension of the body allowing the internet to fill the interior space.

Through the second façade you encounter an exploration of the digital space, and wonder how this could be on a façade? It is a place where we can explore the difference between a viewer and a user (especially when viewing artworks online and in the context of website building). This façade is built through coding in HTML and CSS, sometimes JavaScript (for a more interactive experience). The viewer is encouraged to manipulate the size
of the browser; to decide to watch a film full screen or in a small window surrounded by ads; to listen through headphones or speakers. A conversation of control between the artists and the viewer develops: creating a performative experience on the web. Just like in the first façade you encounter control, and you think of your 5 senses: you are asked to navigate with your hand, but a sense of touch is lost, your eyes and ears are your only senses that are being stimulated.

You scurry around the corner to encounter the third façade. On the wall there is a mural saying: “collaboration over curation”, declaring itself as a more socially engaged practice. Questions revolving established institutional spaces and how they might change in the future appear. You wonder
if the garage next to the house could be a gallery space.

The final façade exists outside the academic walls, which you just realise you were in all this time.

My dear viewer welcome outside my house.

The study of my visual language is aided by the Venn Diagram on the next page; this is the foundation that holds the façades, but also the roof
above. The Venn diagram is not a static object but a fluid action.
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