My current work is driven by a curiosity of the multiplicity and experience of accepted ontologies or structures of
categorization. There is a drive to understand how physiology, words, and digital technology affectually function to
form the texture of plentiful realities (in opposition to Western epistemology’s resolute building of a SOLID
REALITY). My interest lies in popular qualifiers for “realness”, and how they inoculate the individual as well as the
specified culture. What light and sound particles are sensed by the individual due to a culture’s institutions and
subterranean state philosophies? What technology accompanies and transforms these cultural textures? A specified
zone of my interrogation is of digital affect versus analog affect. How do these forms of being commingle to subvert
understandings of “naturalness” or “realness”? How much are we human, and how much are we machine? Does
digital necessitate machine? Does there exist a differing, more messy, category?
My performance art is a form of celebratory resistance against the layers of the rigid Western paradigm of
“realness”. This paradigm is characterized by patriarchal oppression, analytical hegemony, and a rejection of
spiritual ceremony. The video and live performances rip open holes within the fabric of accepted “realness” and its
prescribed behaviors. I am offering a space for the perceptions and behaviors that challenge the State Philosophy
of white christianity’s bubblegum pop-cultural “realness”.
I / we function as a growing body of experiments engaged with the queered ontology of cyborg-aeon.
As always I’m inside my [art] , simultaneously the scientist and
the rat he’s ripping open to study.
— HERVE GUIBERT