Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/28342
Curiosity is not only a good spice to sprinkle on most activities. Sometimes it can prove to be the main meal itself. Such is the case here. Collecting may more accurately be claimed to be the prominent feature of the creative process, and indeed has a long history within the arts and humanities, stretching back to the Wunderkammer, curiosity is the driving force. Whilst it often involves paying very close attention to and care for small things and details easily missed, part of the curious process is the simple ability to notice some wonder in the everyday. This poetics of noticing purports to universality, but I would suggest it is more closely modelled on the mind of a collection than on the average observer of objects. The collector is able to animate their objects through the belief that they have a life of their own beyond our comprehension, and that they contain stories and experiences which can only be brought to the surface through silent reflection and careful display. My work has been greatly influenced by the things I have collected personally as part of the constant thrust of my creative process. But in the end, the composing aspect of my work is just as important collecting. Once I have accrued a large store of ideas and objects, I look for connections between them – what is it that draws me to this particular group of things? Eventually these thoughts and patterns solidified into what I call Object Choreography. This is both the attempt to choreograph objects in a space as if they could respond to me, and my own movement around them, as if we were partners in a dance.