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EXPLOITATION OF EFFORT
work in development 

duress to impress

attritional form, 

compression

heat

metamorphosis of marble

we are not infalliable

you are relentless

you love effort

effort in exertion, in restraint, in stillness, in abiding, in controlling, in defiance,

effort to communicate, to please, to connect, to satisfy, to placate, to hope, to want, to forget, to forge forward.. 

no effort at all

its effortless

transformations of spirit across a lifetime

do i use effort to fabricate meaning, tension, risk, drama, investment, care... 

how do you use effort. 

what is your relationship to effort

why does effort guarantee validity - does it

are we exploiting effort 

Exploitation of Effort, is a practice-led project centred around a physical investigation of effort and its role in/how it is used by society. It furthers several resonant themes of my work to-date – effort, endurance, resilience and duress – seeking novel perspectives around my central creative preoccupation: the nature and transformation of spirit and being.

I’m specifically interested in the relatability of the formation of metamorphic products (namely marble) and the transformation of the human spirit across a lifetime. These slow and unimaginably effort-laden processes create and fundamentally alter ‘objects of substance’ (rocks, metals, personalities, souls).  This work explores these correlations between geology and humanity in a physical revelation of the metamorphic power of effort.

From geology and slow time, this work will then explore notions of effort, exploitation and transformation in our quotidian experience, considering how these mechanisms underpin how modern society operates. 

This work had its first foundational development at The Unconformity Residency in Queenstown. Queenstown’s complex geological abundance supported thoughtful study into key dichotomies such as abundance/finiteness, effort/pleasure, extraction /exploitation, bringing ideas of spiritual and geological metamorphosis into physical relationship.

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