I would like to invite viewers to go on a journey that has no designed destination. I want them to enjoy wandering around the gallery. I deploy the invisible gossamer, which I imagine existing between my artwork and the audience, to blur the viewer’s sight and I aim to incite the viewer to always doubt what they are looking at. This provides the viewer with an experience of the many contradictory facets present in a thing, which may be confusing as they shift between the edge of both the seeable and un-seeable, fact and fiction.
Not Really Really (17-SS-4) aims to provoke the viewer to take another look at what appears familiar - similar to a sideways glance that allows a different perspective on the object - which enables the viewer to make up their own mind about what they see in a work/thing. For example, when a viewer is looking at Not Really Really (17-SS-4), their body often hovers around it as if figuring out what this thing is. They tend to be curious about what this potential object is; perhaps it is a yellow stone, a plastic replica of a yolk, or they question whether it is a soft or hard material. Some viewers will even blow on it and quite a few times the egg yolk falls off the monocle plate. Usually the viewer then runs away in a panic. I am fascinated by the effects that the artwork has when it is presenting itself to the viewer, which is registered in the reaction and emotion emanating from the viewer as they respond to its call. Not Really Really (17-SS-4) tends to encourage viewers to operate differently from their usual habits in the gallery, as shown through the decision to blow on the artwork. This seems to suggest that the artwork arouses different emotions and thoughts in the viewer, which gets them to break the frame or rules of the space in which it is presented.