In a constant grappling with psychological and existentially philosophical ideas, D’Rozario-Gray’s work is predominantly motivated by persistent metaphysical inquisition. A reappraisal of the ideological framework of reality and the mind, toying with fine art’s conceptual traditions.
The exhibited work, a Cacophonic Reverie in Perpetual Convolution, is a maximalist immersive audiovisual installation, exploiting the overstimulation of the viewer as a means to dismantle and reconfigure preconceptions of reality.
The piece, at its core, can be seen as an overcomplicated thought experiment drawn out to the point of excess. It’s an amalgamation of expressions - sounds, words and imagery - all made subscribing to an ethos of psychic automatism. Each improvisation aims to channel the subconscious or even the spirit, whilst echoing and distorting provinces of perceived reality. Its extreme proportions (including a 2-hour-and-38-minute video and more than 10 hours of audio) combined with a deliberate lack of synchronisation, make each encounter unique. Aside from the atmospheric moods and varied subject matters already emanating throughout the work, this assertion suggests abundant swathes of abstract metaphysical symbolism.
From the - slightly ironic - notion that every perception of every perceiver is necessarily unique; to the emphasised distinction between the mind, its actualised output, and the observer’s interpretation. The convoluted mind is ultimately its own actualised output: an expressive self-portrait inviting the observer’s infiltration. A cacophony.
