In his works, several of our contemporary crises are understood through the lenses of this outsider. Still, we are welcomed not only to mourn the results of such ongoing predicaments, like the climate emergency, or the refugee crisis, but also to question and investigate what led things to this state of affairs.
Despite the variation, there is a theme to which they tend to converge—that of “The Wild.” Something the artist understands as a big outsider. That is, outside of capitalist relations, outside of civilizational rules, and regulations, and outside, one could add, the rules that separate different media.
When facing a work like “Migratory Birds,” for instance, or even “Skirmish,” we can’t help but inquire what exactly is going on. But while the first work may lead us to lament, given its somber connection between migration and Anthropocene, in the second one, we may realize even with some amusement, that the notions of inside and outside, local and external, are much more porous than are often assumed to be.
