different way. What is the role of memory in your process? And in particular, do you try to achieve a faithful visual translation of your feelings?
Video as a liminal medium evokes impressions of memory; however, I donâ€™t see memory as being at the conceptual forefront of my work. I would say poetics and philosophy play a big role in my practice. It is important to my work to always be in an open dialog with the medium; that is, responding to the image or process and listening to what it is saying. This is specifically important to electronic media as there is a certain amount of intelligence inherently present in a circuit (analog) or software (digital) that I am not responsible for. Therefore my â€œfeelingsâ€? become less important as I believe good work comes out of a balance between what the process or image is saying and concepts I am wanting to address. Over your career you have showcased your work in several occasions. So before leaving this conversation I would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context?
With media art I have both a small audience and at times a large audience via the web. Periodically through the creative process I attempt to step back and become the audience member. I constantly ask questions and through research attempt to layer multifaceted interpretations through the work. In the long run I make the art I want to make.
I find it truly poetically engaging and I have to confess that it suddenly forced me to relate myself to your works in a
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