Research Catalogue

This exposition documents my explorations of pondering with pine trees. Tämä ekspositio dokumentoi yritykseni miettiä mäntyjen kanssa. Den här ekspositionen dokumenterar mina försök att fundera med furor.

Photography with sound and net art, drawing, found folk sculpture with digital drawing, readymades, 2012, 2020, 2021. Accompanied by archival material. The exposition exposes the question of what is artistic research. Usurping the mini-essayist format, which is traditionally associated with research in say the area of philosophy, the exposition formally operates on different levels. I selectively included visual art research material from my own artistic archive, as well as anonymous material that's readily available from the internet and in film archives. In this way, I wanted to emphasise the role of archiving and using archives in the artistic process, as an element of artistic research and artistic production that might involve remediation. Taking that we live in a largely theoretic culture, which means that we use external information systems for storage and retrieval of written, visual and other material, the implication is that art is part of this theoretical system. Moreover, I specifically problematise the notion of value in relation to the visual arts by using the popular media figures of the counterfeit and the impostor, with reference to the so-called "impostor syndrome", correlated with being a minority of some sort in one's field: "A different thought is that two people may be answerable to the very same standard of success or competence, yet be subject to different epistemic standards for reasonable belief in their respective success or competence. This would be an example of pragmatic encroachment." (Katherine Hawley, "What is Impostor Syndrome?", Proceedings of the Aristotelian Society Supplementary Volume 93, 2019). I use visual art and figurative examples as illustrations, adapting from methods, such as the example, used in analytic philosophy. I suggest that some artworks operate as philosophical provocations of the archive. "The artwork just exists", as Frank Stella argued. In this view, I ordered this exposition as a design proposal for two independent, yet interconnected exhibitions: one for the final artistic exhibition show; and one as a general overview for the artist's studio, set up as a stand alone, if parallel, exhibition.

I like to approach my body of work as being one big opera. Every object, wearable object or costume serves the opera. Every spatial costume a backdrop, every sculpture a prop, every wearable object a costume, every costume a character. One day I will make an opera consisting of all my works. Welcome to my world, welcome to my opera

Ars Memoriae, The Art to Remember analyzes the role of art within the larger history and evolution of external memory devices. It looks at material traces of remembering and the invention of an ever-changing body of language expressions, like signs and symbols, to enhance communication capabilities. I followed the process of externalizing emotions, knowledge, and information, starting in the Palaeolithic Stone Age about 3 million years ago, until, in a speculative future, it will be internalized again using artificial wetware, neuro-computers, and DNA coding. > Click on the image to download the PDF.

Why I paint Thousands of Circles explores psychological barriers and multilayered themes that stem from a single horrific event that involved Moran’s father and his brother. The artist collates information, photos and constructs an ar(t)chaeological archive where family photos, product imagery, together with newspaper clips to form units of a historical and psychological mind map. The exposition becomes an auto-ethnographical exploration of mid 90's working class North West London. The repetitive painting process, exposed and documented in the exposition, functions as transformative method, where ambiguous feelings of a violent upbringing are directed towards the creation of a visual system with an inherent logic – “creating some kind of beauty out of ugliness.”

The project explores the artistic potential of unpredictability, specifically within the context of electronic music. By referring to an original instrument design—including programming a number of randomized systems—a series of compositions for keyboard instruments were developed. The central theme is the relationship between dialogue and loss of control during the creative process. This project was documented intermediately with new music, as well as technological and procedural reflections.