HornyHoneydew
Text/Info
Where Does This Wood In My Hand Come From?, 2015-2018
Exhibited at CICA Museum, Gimpo, Korea, 2018
Where Does This Wood In My Hand Come From? / 2018 / rope, hatchet, digital printed on fabric

The Binding of Isaac / 2015 / yarn, wood, laser cut acrylic, book lamp


Paradise Lost + Me Gustas Tú by TcoET / 2016 / single channel film (10'30")


David's Sling / 2016 / silicone, plastic, lenticular printing


Ceremony / 2016 / a prayer chair including QR code to moving image work  (07'07") / link - https://vimeo.com/167665099/


The Egg / 2016 / single channel film (04'11'') / link - https://vimeo.com/169562847#at=2



In the exhibition ‘Where Does This Wood In My Hand Come From?’, the structure of religion is questioned by conflicts and relationships. In my work ‘Take Me To Church’, I investigate the hidden architectures between body, religion and sadomasochistic sexuality. Bataille says that the inner experience of eroticism demands from the subject sensitiveness to the anguish at the heart of the taboo no less great than the desire which leads him to infringe it. This is religious(mystic) sensibility, and it always links desire closely with terror, intense pleasure and anguish. I am interested in a type of energy that when harnessed to a devotion to something or someone, gives the devotee, the submissive, the masochist, the martyr, an ability to do something special, to step outside the accepted limitations of the human. I try to explore three dimensions in my recent work. First, to create non-binary gender politics within post-phallocentric technologies. Second, to explore hidden architectures between the human body and religious experience. Lastly, as an ethical and political process my work disarticulates the dominant narratives about religion by reinventing ‘religious(mystic) sensibilities’ as an aspect of submission within the practice of sadomasochism.

The work in collaboration with London based artist filmmaker Luciano Zubillaga involves performance, moving image and installation. Set under the collective name of The Church of Expanded Telepathy(TcoET), the work reconsiders aesthetic practices based on questions of borders and fixed subjectivities. TcoET seeks new forms of thinking, doing and collectivising collaboration. We work with sexuality, performance and expanded telepathy™ as a mode of direct knowledge in moving image as research. In the work the rules of production are not defined as in traditional filmmaking and not set under rational protocols of collaboration. Filmmaking is approached as an invisible architecture. The linear order of montage gives way to possible assemblages of time as a field of sculpture, philosophy and space design. In fact, image movement or time-sense is only needed as a mode of exploring hyperspace philosophies and debates.

Finally my intention is to explore and expand further on the subject of religion and its intersection with society and contemporary art. In my current artistic preoccupations, I am interested in liberating contemporary art from its neoliberal grip and reconnect it with religion, mysticism and develop new politics of collectivity. The work I intend to do is collaborative and expand the indeterminate potential of both art and the religious practices.