Daniyyel Ironside

A presentation of current research into their Geoamorous theory of being; Ironside considers the fragmentary nature of our becoming. This installation brings together a collection of works in various media which represent instances in a larger project, and resolved artworks in their own right. Here, we recognise the theory of becoming which constitutes the academic content of Ironside’s research, and its being reflected in the vision-board mode of display, in the evident traces of the work’s means of production, and in the artists being such a proximate, fluxual presence within the work itself. On the Geoamorous is equally concerned with articulating a philosophy of the subject, as it is evoking a sense of the overwhelming, existential, maniac, and essential task, of figuring our place in a world; it is a confused and hermenautic alter, at which to pray for belief. 

Employing art practice as an epistemological-prosthesis, Daniyyel  Ironside considers themes of love and subjectification through the accumulation, curation, and expulsion of evocative fragments. With distinct graphic sensibilities, and a conscious evidencing of their sentimental proximity to their work, Ironside’s research is visceral; aesthetically, emotionally, and philosophically. Through various media - firstly drawing and text - Ironside pursues the speculative turn, not only to probe and communicate an impression of subjectivity, but as a mode of introspection; as a gesture towards the finding/fictioning of faith.

Ironsides’ engagement with the continental tradition, has lead to their developing a Geoamorous theory of being - their art practice geared towards speculation as to its utility and consequence. Born of an understanding that the fragment becomes relative to those fragments around it - as lovers do - the Geoamorous finds itself evidenced everywhere; from the impulse to bind the fractal aphorisms of the Écrits: Æternull with desire and nostalgia, to the erotic despoilment of the Æternull Monad’s docile body. Ironside facilitates exactly these interactions; producing works which come about by, and themselves provoke, those processes of reciprocal becoming. 

Process is the core of Ironside’s practice; emphasising it in modes of display, preserving its vestige in artworks, or recontextualising their output with relation to their own becoming-subject. As such, works open themselves to radical re-interpretation - despite the conclusions which find resolution in their writings, the volume and meta-text of Ironside’s work allows multiple modes of approach; from rigorous academic engagement, to formal aesthetic appreciation, to parasocial conjecture. Between nostalgia, vulnerability, and frantic gesticulating, as they are concerned with the phenomenological becoming, Ironside’s output can’t but reflect our own contradictory/convoluted being.