Claudia Moseley and Edward Shuster are collaborative conceptual artists working in sculpture and installation. Their work explores the nature of consciousness and technological mediation, incorporating light, glass, optics and geometry. They live and work in London.

Their practice aims to create openings for conscious experience that emerge from diagrammatic relations between people and their environment, bringing into play cosmology, geography, spatial proportions and anthropology, along with the optical potentialities of natural and artificial light. Focusing on site-specific and immersive installation, their work has been situated in sites ranging from public parks to diverse architectural spaces. The artists met on a protest site in the Brecon Beacons in Wales, where they began their collaboration inhabiting a tree. 

 One Another,
 Collodion prints on glass, 2015

Claudia Moseley (b. 1984) studied Fine Art and Textiles (Goldsmiths University) following a foundation diploma in Art & Design (Middlesex University). She then completed a Masters degree in Environmental Anthropology (Kent University).
Edward Shuster (b. 1986), FRSA, is a Doctor of Philosophy (‘The Pharmakology of Light-Time’, European Graduate School). He undertook research in Optics, Geometry and Architecture (Farjam Scholarship, Prince's School), World Philosophies (SOAS) and Esoteric Philosophies (Exeter University).


Research seeks to open anthropological potentialities through an awareness of our ontology leading to the technocene. The concern is for altarity and dys-chrony in relation to the systems of globalising cosmotechnics, reflecting on the threshold of materiality and imagining the future relics of contemporaneity.
We must first of all recognise the diversity of cosmotechnics - Yuk Hui

The Lens: Perceptual Apparatus:
Considering the ontology of light, cinematic apparatus is deconstructed to reveal the lens as the foundational instrument of an 'active vision' that precedes and constitutes both telescopy and telematics. It is the perceptual apparatus that interfaces between macrocosm and microcosm; a singular instrument that determines the cosmological horizon. Individuating its form through a re-appropriation of ancient techniques, works use this interface of originary instrumentation to open variant forms of experience. 
The entire world may be read, as through a crystal ball, in the moving depths of individuating differences or differences in intensity – Deleuze

Figures: Virtual Bodies:
Considering how the screens, lenses and other archi-technological mediums enframe and generate both our experience of reality and our psycho-physical embodiment, from this vantage the collapsing of material dimensionality into the screen is projected towards a future collapsing of the dimensions of human embodiment more specifically - a virtualization of reality that endangers human spirit. Complexifying this trajectory, works attempt to open space for liminal alterations and temporal inversions into this projected reality. 
Reading the importance given today to glass and transparency as a metaphor of the disappearance of matter… space is critical because it is on the verge of becoming virtual space. To give another example: whole dimensions no longer exist - Virilio

The Liberational Interface:
Structural lines of light and sight are used to map spatial relations in such a way as to reveal openings or clearings within dimensional-geometric determinations, or architectonic siting’s more generally. In this context the work  treats light as an intra-dimensional agency, attempting a liberating function by disappropriating optico-geometric systems and spatio-temporal configurations. 
Meaning is invisible, but the invisible is not the contradictory of the visible: the visible has an invisible inner framework - Merleau-Ponty

The horizon concerns the limit; the threshold which is also the meeting of two faces (the interface). The emergent, tectonic or light-scattering forces are those forces by which we understand colours both in their unity as psychologizing entities and in their inseparability from each other (the spectrum) and from darkness. The work concerns these colour-forces as emergent qualities, imminent to the material at its limit-horizon. 
Colours are bearers of each other, triggered into being by an edge. The convivial edge of emergence: one line indicating all, presenting the continuity of variation that is the shadowy background of existence. And at the same time effecting separation: the spectral distinction of what actually appears. Merging; emerging. Virtual; actual. One line - Massumi

By whatever binds the world, by that it must be freed - Hevajra Tantra

For more information and for access to the online book: The Art of the Interface please contact us here.