The direction in my work aims to pitch alternative narratives and image worlds that seek to counter 21st-century economic conditions.

Over the last year my work has included video and digital imaging and sampling hybridising times and spaces, creating futures plural. These works all respond to aspects of the world in which we live. They touch on the unimaginable horror of potential future outcomes and scale them into a series of digestible alternative offerings.

The subject of temporality, and in particular imaginings of the future, ones made now and past futures is of particular interest. Imaginings and art strategies propose to challenge categories of past/present/future (for example editing/montage/collage and sampling). The future fictions I am researching are specific, covering ideas and terms such as ‘Political Imaginary’ and ‘Afrofuturism’ concepts which foregrounds the future by devaluing the present and past, ‘Hyperstition’ which is how fiction can make an impact on the real e.g feedback loops in sound and moving image, and ‘Luxury Communism’ which is an example of reassemblage of what is already available to us (not an attempt to revive each concept) leading to a new platform for fictioning.

Looking for futures which stem from the Anthopocene position, it is seemingly unavoidable to isolate the alternative worlds that soothsaying objects and spacialities needs to consider. Is it useful, or even possible to consider No Future and it’s planetary and geological time and space scales in isolation from the Black Lives Matter movement in the Post Trump era, the fourth wave of feminism? I am looking to navigate the intersections of these movements with visual culture.

I’m seeking to fold and bend space/time to present visual predictions of the deep future. Creating lines, crevices, directions which map potential multiple imagined futures. Looking at a wide scope of artists that are working in this area has been invaluable in particular around what seems to be a common connection – the concept that the future begins by making an image.

Theo Reeves – Evison describes in his essay Surface Fictions an artefact and popular attraction at South Londons Horniman Museum.  A walrus which was taxidermied without any image reference or personal experience of sighting one by the nineteenth century taxidermist. The taxidermist continued to completely fill out the skin, not aware of the great folds and wrinkles that we all know now that walruses have. The resulting walrus is humorously bloated, a giant bulbous shape. The exploration of how the exterior communicates its interior, which posits the object as fiction, the essay expands into an exploration of the seam between the interior and exterior, and discusses the walrus as an object aligned with Fredric Jamesons proposed post modern ‘depthlessness’ and also Deleuze’s argument and vocabulary of interiority, exteriority, falsehood and mimesis to redefine the concept of simulacrum.

Objects found in the incomprehensible deep future, blackened and corroded by deep geological time and carefully reconstructed by unknown future sentient beings… what fictions of our past would they unwittingly divine from our image world today….