The poetic and fantastic is my preferred method of devising mechanical systems.
A niggling doubt
can be a starting point,
a place to depart from.
Here I become accustomed to the frustration of not knowing.
I dodge working rationally and functionally in favour of
digging in the dirt.
More like archeology than engineering.
A continued exploration of puppetry in design and performance feeds into my sculptural practise, providing a method for playful and experiential experimentation with objects and character.
Performance is intrinsically time-based, character is expressed through often subtle changes of movements through to stillness and back to movement.
Relationships are suggested through variations in the proximity between protagonists, in puppetry these are physically represented imaginary characters.
The physical techniques of puppet performance allow a viewer (and the puppeteer) to be convinced of an object character’s realness to such an extent that we feel an empathy towards them and the situation they are in.
Character and narrative have been devices for the preservation and communication of knowledge and wisdom throughout human history.
The puppet aspect of my creative practise can be found at www.foldedfeather.com