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Temple of Chaos. In my Darkness there are all the Colours of the


Ancestral Figures (2021) utilizes the scientific descriptor of chaos (Chaos Theory) which suggests that nature is an inherently chaotic system, and its subsequent essence is an abstract entity which lies outside of humanity’s conscious awareness. Despite our initial perceptions, Chaos is unpredictable but not random, meaning it has a subtle order which formulates in the presence of fractal patterns. To fully embody nature’s chaos, I derive my processes from the unconscious embodiment of these underlying chaotic forces, acting as a medium of chaos through the use of my intuitive unconsciousness and the automatic unconscious of digital algorithms.


My tool for channelling chaotic dynamics lies within the digital algorithms of Adobe Photoshop, which translate the symptomatic fractal patterns of chaos found in decaying organisms through the use of distortion effects. Technology is able to render the abstraction of chaos, as it too operates outside of humanity’s biological consciousness through the use of codes which give form to its transcendental intangibility. This technology allows the fractals present in my organic forms to remain intact, simulating fractal geometry digitally without the need to shape the abstraction of chaos into a recognisable form. Ancestral Figures asks the viewer to recognise their unconscious alignment with nature’s chaos and raises questions about how humans and artificial intelligence interact with the hidden forces of nature through unconscious and automatic means.

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