I dedicated the first 15 years of my professional life to color science. When I left my research job at HP Labs, I didn't do it because I disliked technology or the corporate world. I just felt deeply dissatisfied with dedicating my life to a task defined entirely by some predetermined disciplinary and economic boundaries, histories and conventions of little relevance to me personally.
Instead, I embarked on the art practice of extreme site-specificity where the subject matter and means are products of places where art happens. It is all about complete freedom of adapting to context; of resistance to habits; of uncertainty as a state of mind; of inventing art anew in every new project; it is a practice where the craft is in learning—rather than in the discipline-specific method of treating material.
How do I learn as an artist? How do we all learn our environments as we live with them? How these two learnings converge? If they do, such mutual learning can create a democratic performative space where all element affects all others, where artists, audiences and environments merge into one process: life.
I like finding how art can connect fields of knowledge, and how questions flow between disciplines. I would like to find out how art can become a catalyst of inquiry that is free from disciplinary conventions. I like being a specialist in not specializing: art is the only discipline that allows the complete freedom of doing absolutely anything. Using this freedom responsibly is the greatest opportunity and the greatest challenge in being an artist.