This lecture afforded me the chance to step back and reflect on three decades of making art through complexity. I spoke about how my practice has moved across different phases: from early realistic assemblages, to the satirical OneBigMob cartoon world, to more recent entangled portraitures and experiments with AI art and posthumanism.

 

For me, these aren’t just shifts in style. They’re part of an ongoing attempt to treat art as a way of doing research — a method as much as a practice. My work joins a wider community of artist-scientists exploring how images, forms, and site-based works can help us live with the ecological crisis, navigate our emotional lives, and rethink how we experience the complex systems we inhabit.

 

In the lecture I shared some of that journey, screened a short section of my film Entangled 2025, and opened the door for new collaborations with colleagues and communities at the university. It was less a retrospective than an invitation: to see complexity not just as something studied in the sciences, but as something we feel, imagine, and create our way through.