ARCHAEOLOGY PRE-CPPM → POST-CPPM

ARCHAEOLOGY PRE-CPPM → FUTURE DIRECTION POST-CPPM

My practice should not be represented as a linear passage from theory to embodiment, cinema to performance or academic research to artistic freedom. The more accurate movement is archaeological.

Problems recur. They change medium.
They disappear and return.
An academic question can become a bodily problem;
a bodily sensation can become an image;
an image can become a drawing;
a drawing can generate research;
a philosophical contradiction can become a performance protocol.

A Guest Artist’s method may initially be resisted and become usable months later after being dismantled. An earlier framework may acquire a different meaning once physically experienced.

THE SAME QUESTIONS CONTINUALLY MIGRATE BETWEEN BODY, IMAGE, TEXT, MUSIC, MATERIAL, POLITICS, PHILOSOPHY AND PERFORMANCE.

I entered CPPM with apparatus inherited from art history, cinema, philosophy, political theory and visual analysis, and a body organised around technique, precision, self-correction and rationality.

CPPM did not destroy these foundations; it displaced their functions.
Theory, structure, rigour and political consciousness remain, but coexist with affectability, sensation, dream, materiality, non-knowing, duration and physiological intelligence.

The unresolved double movement is:

• How can I relinquish control without relinquishing thought?
• How can I retain rigour without making the body submit to an external truth?

ARCHAEOLOGICAL READING

The branch is not past → learning → solution → future.
It holds recurrences, disappearances, returns, changes of medium, contradictions and retrospective understanding. Its purpose is to show what happened, what was resisted, what was retained, what changed form and what remains open.