People interacting with my works often remark that they experience a shift in consciousness, of how they make sense of the world and their place in it. This glitch effect is felt as an uncanny and visceral sensation that grips the body, suddenly awakening a deep awareness to its rhythms, sensations and inner landscapes. This is a feeling I actively pursue both in the making and presentation of my work, because in this altered state lies the unpredictable and the virtual, the playful and the unknown.
My studio practice begins through somatic introspection, what philosopher Richard Shusterman calls ‘somaesthetics’, an approach that emphasizes the role of the body in thinking. As part of my ancestry is Indian, my techniques of choice hail from the meditation, movement and performance practices of the East: Vipassana, Yoga, Qi Gong, Butoh. They are the basis for my own inventive movement research which considers the interaction of mind and matter in the making of the work. I express my intuition about entanglement as: ‘Love is in the wireframe’. I am alluding to a more-than-human eroticism that I perceive in the haptic relation that evolves in the studio. Though playful, it is intended as a subversion of the Western rationalist approach of say the artificial intelligence researcher or the neuroscientist who uses this geometry in the service of measure, predictability, and progress.
I doodle, I dance, I collect straight sticks, I grow and observe organisms, I measure my brainwaves, I explore free time, I delve into participatory sense-making through choreographies of activism. The purpose of my work is to hone a compositional attention to the relations between these practices, and thereby to reveal the emergent dynamics of an expanded sense of time, a tempo that resonates into the intimate realms of consciousness. For the viewer, in encountering the instance of uncanniness, the imagination awakens, allowing the interwoven fabric of human and nonhuman to become viscerally clear.
Dominique Baron-Bonarjee 2019