These projects are grounded in a sustained inquiry into the boundaries of materiality, pursued through an ongoing engagement with both traditional and emerging technologies. Central to this approach is identifying the most effective means of realizing each concept — a process that, for example, may involve any combination of available technologies as tools for generating forms that are subsequently produced in ceramic. The methodological openness is guided by themes from nature, minimalism, industrialization, domesticity, and the urban environment, with a particular interest in liminal spaces — those transitional or in-between places that resist easy categorisation.

Much of the work on 404deadlink is about stress and durablity. The right kind of stress is training, making one fit in mind or body. Too much stress or force is realized as abuse or trauma. This continuum is elastic, such that each new project is a position for the body to take against the status quo. As projects in the art studio evolve like thoughts, they take on meaning as containers for self-awareness. Meditation and technology are skills and tools to exit or change the shape of the container of our self-awareness.

Each piece is born out of experiences with domesticity, mental health, meditation, and a seeking of less distracting, less demanding environments. There is no shortage of content to draw from. Newer pieces are informed by earlier work insofar as all objects in the studio are subject to the possibility of being absorbed into other objects in the studio process. By responding to current events and themes in culture with these aesthetic values in mind, 404deadlink is attempting to take a position against modernism as it relates, institutionally, to people. we aim to make objects that are seductive and simultaneously grotesque enough to elicit a somatic aesthetic experience.

we hope to be creative in ways that help people escape attachment to expectations or outcomes for their desires, and we intend to collapse the false dichotomy between seduction and repulsion in a way that makes people freer from suffering than they were before they arrived.

Creatures, critters, partially human, mechanized bodies synthesized from textbook references, anatomy, architecture. Largely dysmorphic and alienated, animals reflect a playful distrust of social interactions and perception. They may express our anxieties toward the domestic and industrial spaces, the rails, the track that we find ourselves on, our taboos. Our houses reflect our perception of shelter and need for safety. Real needs and real bodies may be at odds with the architecture that we inhabit.