Rooted in my background as a lawyer and United Nations war crimes prosecutor in The Hague, much of my multimedia art practice investigates the potential of law as an artistic medium, and overlaps with the fields of history, politics, human rights and armed conflict. Institutional environments may serve as sites of performance or intervention as a means to reflect on the process of truth-making and narrative-building in politicized contexts.
This part of my practice is informed by the tension between the search for objective truth in the courtroom and the validation of subjective experience in the exhibition space. My work oscillates between these two objective/subjective poles, and allows me to examine socio-political structures where the language and forms of drawing, photography, performance and video are expressed for alternate purposes, such as testimony, evidence, mapping and the exercise of political power.
Participation in the art-world ecosystem, which compromises all its participants in its own ways, also infuses some of my artistic research and production. The economic and political conditions of art’s status and existence require ongoing scrutiny in relation to the social issues subjected to artistic critique.
Exhibition Catalogue, The Observer Effect, GEMAK, The Hague, catalogue essay by Philip Peters (2015)