In the spectrum of my art practice lies as an inherent premise – Systems, Structures, Scales – wherein I identify as the totality of my being. Looking back at the past — in archival research to previous projects, I see this as a potential of interconnection through recurring time and space, that the things I do may intersect or not, in a recurring motivation to arrive in the totality of art.
From my revolving interest — ethnoastronomy, science, climate, archives, knowledge, queerness, rave culture, fashion, food, subcultures, ecology and nature — all of which, when restructured, in an act of “staging” is in the same plane simulatenously existing in a place we call the “world.” With the undying impulse of trying to understand how the world operates, to decode what it means to be living in a “today” requires a worldview of “openness”.
To live in a time without time, on the staging of hope and horror therein we formulate the delusional and the pragmatic. In the hopes of becoming “planetary”, this has lead me to become “encyclopaedic,” to be hyper aware that the systems, structures and scales I developed may emerge in the abstract form of art or the technical visualization of science. Both of which requires creativity and inteligence, care and camaraderie. In a world that is constantly changing (getting faster), becoming better or worse, I subject myself to the excruciating ordeal of a sponge, that the thoughts and feelings I absorbed may generate further knowledge, to experience the impressive and the absurd, hoping that we may figure out a way to live in balance, as nature would. – D. Tumala
