Creativity is in all things living. It is a matter of re – harmonising these things, to counter act any environment interruptive to this process.
The artist’s role is not solely to make art, but to understand how making art affects the wide scale contributing to a poly-rhythmical process of making
dialogue with many people.
A process needs to host many inputs and outputs in order to regard the full.
Any materials we use/make must have a natural and expansive quality to what it is to be human. The material must allow oxygen to pass through.
In order to affect large political structures, we must look at and make small structures. It is not the big gestures that create big movements,
but rather the small gestures that create big movements.
Any educational structure should firstly be a physical method of exploring oneself in the world. Whatever medium this requires should be encouraged
and developed.
The role of language and intellectualization of simple processes should be adjusted to its relevant environment, never repelling any participants
from entering into a dialogue.
New words should be made up if necessary to describe something that has linguistically been corrupted and is no longer connected to its meaning.
Spaces we make should consider the social, architectural and ephemeral quality of the existing environment. If changes need to be made this should
be done with patience and the essential involvement of local people.
We shall listen to our elders, through their wisdom and experience we shall learn about our spaces and ourselves, our past and potential futures.