Part of the nature of my artwork is that – much like the museum institution in appearance and in practice – it only makes sense when all the elements of the work tie together. In this way, what starts as quite a linear, two-dimensional work in the form of diagrams and cartography, becomes a spatial reality. Although places are flattened into two-dimensional maps, they are brought back into a third dimension through their associations with found artefacts and their corresponding indexes in the form of catalogues and labels. It is when the objects are embedded with foreign narratives that the viewer can begin to ponder the value of transferred knowledge. Much like human ingenuity and migration adapted the Three Hares from an Islamic to a Christian context as it travelled westward, I adopt a similar process by changing the context of my found objects to trace the symbol’s original transcendence.
As important as their embedded meanings are the way these objects are displayed to the viewer. I craft vitrines and pedestals using modern materials and clean lines to contrast with the aged objects and the natural grains of the wooden signs. I aim to convey a material consciousness of combining the old and the new.