People interacting with my works often remark that they experience a shift in awareness, 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 you, suddenly awakening a deep listening of the body’s rhythms, sensations and inner experience. 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 in an approach that emphasizes the role of the body in thinking. With Eastern ‘psychotechnologies’ of meditation, movement and performance training practices, I develop my own inventive movement research which considers the interaction of mind and matter in the making of the work. My intuition is that ‘Love is in the wireframe’, an allusion to a more-than-human entanglement and eroticism that I perceive in the haptic relation that evolves in the studio. Though playful, it is intended as a subversion of a scientific materialist approach of say the artificial intelligence researcher or the neuroscientist who uses this geometry in the service of measure, predictability, and simulation.
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 sensed.
Dominique Baron-Bonarjee 2019