Claudia Moseley and Edward Shuster are conceptual artists working in sculpture and installation. Their practice explores the nature of perception, embodiment and light-time; investigating technological mediation, instrumentation, and the disappropriation of optics and geometry. The artists met on a protest site in the Brecon Beacons in Wales, where they began their collaboration inhabiting a tree, which led to a series of works of social sculpture, immersive installation and public pavilions in sites ranging from squats and peripheral architectural spaces to public parks. Now married, they live and work in London and various sites across Europe. 

Edward wrote his PhD thesis 'The Pharmakology of Light-Time' at the European Graduate School after studying Philosophy at SOAS and Exeter University and undertaking research in Geometry and Optics at The Princes School through a Farjam Scholarship. Claudia studied Art at Goldsmiths University before completing a Masters degree in Environmental Anthropology at Kent University. They are both RSA fellows.

 

       One Another,
       Collodion prints on glass, 2015

Current practice focuses on site-specific work utilising light in interaction with transparencies, often incorporating blown and bonded glass elements that are suspended to form immersive environments that resonate with their particular spatial relations. The work brings into play architectural proportions, geography, geometry and anthropology, along with the optical potentialities of natural and artificial light. Combining ancient techniques with contemporary research into technological apparatus and cosmology, the work reflects on the threshold of materiality and imagines the future relics of our contemporary world. Many works can be looked through as well as looked directly at, projecting light-paintings, widening perceptual potentialities, and deepening the viewers awareness of their ontology leading to the technocene. 

Technocene:
Research seeks to open anthropological potentialities through a deepened awareness of the ontologies that lead to the technocene. The concern is for altarity and dys-chrony in relation to the systems of globalising cosmotechnics that operate at the threshold of materiality.
We must first of all recognise the diversity of cosmotechnics - Yuk Hui

Figures: Virtual Bodies:
Considering how the screens, lenses and other archi-technological mediums frame and in some ways generate both our experience of reality and our psycho-physical embodiment, from this vantage the collapsing of dimensionality into the screen is projected towards a future collapsing of materiality, and the dimensions of the human body more specifically - a virtualization of reality that endangers human spirit. Complexifying this trajectory, transparencies, glass and light are used to create 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 Lens: Perceptual Apparatus:
Considering the ontology of light, cinematic apparatus is deconstructed, revealing 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 of glass making, works use this interface of originary perceptual instrumentation to open variant forms of perception. 
The entire world may be read, as through a crystal ball, in the moving depths of individuating differences or differences in intensity – Deleuze

Space, Light + Structure:
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 works attempt a liberating function by opening geometric systems and spatio-temporal configurations through the treating of light as an inter-dimensional agency, thus allowing works to diagrammatically expose a space for multi-form, perceptual experience. 
Meaning is invisible, but the invisible is not the contradictory of the visible: the visible has an invisible inner framework - Merleau-Ponty

Colour-Horizons:
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.