Artistic production can be understood as multimodal material interactions in complex environments, and can be a site of research alongside theoretical production. In Some Combinations I brought together paintings, drawings, un-stretched frames, photographs, tables, tools, chairs, building materials (bolts, plastic sheeting, scaffolding) and rubble in temporary, planned and unplanned combinations. Formal works of art were continuously in proximity to hanging materials and tools, plastic bubble wrapping, bags and jerseys and various conversations. Whenever I installed other people’s exhibitions, it always frustrated me to have to take my tools away, clean up any imperfection, make things pristine. In this exhibition it was important to approach works of art inside a gallery in a way that is closer to my working processes in general: of planning, and of continuous adjustments.
The exhibition was a response to various site interactions: important research activities within specific environments other than the gallery environment, but mostly too ephemeral for presentation in the gallery and the dissertation. The exhibition, approached as a working period, provided opportunities for visitors to engage aspects of the art making process, and for me to make planned, but also accidental combinations. The exhibition was one way to think through the various theories I was working with, experiences I had, and works I made: It was a research presentation and performance.