More and more we find ourselves living our lives in fast forward, finding little time to catch a breath.  Busy lives leave less time for a pause and free time comes at a premium.

My work is a thoughtful pause to the mayhem that surrounds everyone and everything.  I collect, review and recycle; choosing to work with materials that I find close to hand.  Inspired by the ancient Japanese philosophy of Wabi-Sabi [1], I embrace the imperfect. 

I like to work in a playful and spontaneous manner; this allows me to encounter a multitude of possibilities through my moments of nothingness [2]; creating "stuff" that exist as evidence of the moments process, always in a state of flux, awaiting new fragments and forever expanding like a rhizome [3]. 


[1]  Wabi-Sabi is a beauty of things imperfect, impermanent and incomplete.  It is a beauty of things modest and humble.  It is a beauty of things unconventional.  (Koren, L. (2008).  Wabi-Sabi for Artists, Designers, Poets & Philosophers: California, U.S.A. Imperfect Publishing, 7).

[2]  Nothingness:  a state where nothing is present, or where nothing exists that is important or gives meaning to life  (

"For man to be able to question, he must be capable of being his own nothingness: that is, he can be at the origin of non-being in being only if his being-—in himself and by himself—is paralyzed with nothingness" (Barnes, H. (2003). Jean-Paul Sartre: Being and Nothingness, translated by Hazel Barnes. Oxon, UK: Routledge Classics, 69).

[3]  Rhizome:  a botanical concept that was developed by French philosophers Gilles Deleuze and Félix Guattari in their book;  'A Thousand Plateaus: Capitalism and Schizophrenia'.  In the book they state that;   'a rhizome has no beginning or end; it is always in the middle, between things, interbeing, intermezzo',  instead it favours a nomadic system of growth and propagation (Deleuze, G & Guattari, F. (2005). A THOUSAND PLATEAUS: Capitalism and Schizophrenia: Translation and Forward by Brian Massumi.11thed. London & Minneapolis: University of Minnesota Press, 25).

©   Maria Pearson.