Still from the wedding of Denise and Mike Photograph

It's always tricky because as the maker you have multiple layers in your concept and motivation to make work. The trick is, I guess, to prioritise what needs to be communicated. For the purpose of clarity, it can be important to hold back on some elements. There remains a constant need to interpret my Mental ill health which has been a trigger for life's experiences, anxiety, loss and a mind which on one hand feels cluttered to another of intrusive thoughts which have led to two failed suicide attempts. Thus, the motivation to visualize what in a majority is invisible and to present it in a format which satisfies conceptual understanding where the idea remains a catalyst for exploration. The use of nostalgia as something to hold or destroy is the method of communication, it’s not necessarily the concept. It’s a discussion in terms of a vehicle through which a dialogue is opened. For some it will trigger thoughts of memory loss, mental health Others may see it as social change. But the disquieting mind and the struggle is there to see. The erosion of nostalgia, and the cluttered mind searching for relevance, an answer even is the engagement and seeking the attention in order to start such dialogues is important. My own struggle with lucidity brought upon by crippling mental anxiety is represented by the work, at times chaotic and others void of the physical. My nostalgic enterprise should not be confused with reminiscence as in the good old days, but an exploration into the dark mind of the distressed, the loss of lucidity and conscious self-awareness, the demons which occupy the mind, the intrusive thoughts which dictate actions and outcomes. The current work titled ‘What’s said can never be unsaid instructions for the erosion of the nostalgic is the exploration of chaotic occurrences, my work is to be engaged with, mini-performances, not static, the interaction of the spectator completes the work, whether the typing of a dialogue on my Adler typewriter, breathing thoughts into bottles signing them my art craves to be touched to be experienced. Roelof Louw’s soul city (pyramid of oranges) is an example you can take from this. The fascination of the disintegration of art the abstraction and liberation of the idea, the idea of post-aesthetic value, whereby the object continues to be a less relevant piece in the decision making process.