Wed to tactile mediums, Sage Stuart’s work is predominantly born in analogue, 2-D forms, such as paintings and the like. Though, occasionally cheating [of course] with video, word, and performance.

We are all birthed into a milieu [societal ecosystem] with a particular conceptualization of what is; rules and limitations about how the world and its subjects operate and intersect. What is of value, how to live ‘right’, how to feel. Our nation’s folie à deux [shared delusion] is certainly one of the maddest.

In aversion to imperial-modernity’s artificialization and sterilization of experience, Stuart’s practice is preeminently concerned with distillation to physiological stimuli of sensorial pleasure.

Empire’s cannibalistic capitalism fashions ontological purpose to insist that our lives are as meaningful as they are professionally achieving, socially ambitious and domineering, and of eulogized archetypal persona. Under this pressure, we, the inhabitants, are dislocated from experiential reality; hardened to the sensuality of mortality and inter-existence. As value is placed in the unreality of ideological signification, so is sentience. Thus blunting our capacity and potential to reconcile and love beyond pedigree; to understand the honest scope and substance of our nature, and thus to perceive right relations to the carnal conundrum; to respond to vitality in sound cherishment; to help one another; to work together to solve serpentine, long-armed issues.

… Abstract, then, is the fascination, as a pungent distaste and distrust of the imperial empire’s indoctrination and socialization repels Stuart from the terrain of bureaucracy to the spectral field. Stuart imagines they may contribute to the running disassemblage of empire by reiterating the primordial conviction of oneness with totality. And that by erecting sensorial odes from physiological instinct–rather than composing via navigation within the dictionary of value[to the extent they can manage]–, they may aid the tide of retraction from the colonial state’s notations of the objective.