Alexander’s practice exists in 2 overlapping components that frequently collide. The more dominant component being his artistic practice, and secondly his functionality as a poet. Alexander’s poetical practice is to a great extent influenced by the concept of ‘Streams of Consciousness’ (which often influences aspects of his artistic practice), taking inspiration from Jazz music and the Beatnik Generation. Alexander uses this concept as a lexical response to personal and impersonal experiences and individual encounters. This frequently converges with his artistic practice in alternative forms.
His artistic practice is partially shaped through his interests in Buddhism, the practice of meditation and Taoist philosophy, which arose after the death of his brother in late 2014, Alexander’s work often responds to neurological conditions as a result of this. Other influences within his practice is the construction of a certain creative procedure under which work is to be constructed, with a process that is often intense and laborious. It is under these non-indulgent conditions that work is sometimes prolifically produced. Alexander has a strong interest in the duration of existence for a piece of work he produces. Often when a piece of work is categorised as completed, it is destroyed in a certain pre-orchestrated way, and similar to the creation process, the destruction process is also often intense and laborious. Through the destruction process another piece of work is created, in the form of documentation and the repurposing of materials. Inspired by the Auto-destructive art movement, the destructive act becomes just as an crucial component as the construction.
I arise as there were conversations to have and words to intertwine
Work is not destroyed as a result of hatred, self-disgust, or embarrassment for the works created, or even out of fear of how it might be interpreted or misinterpreted. It is a process of uncovering through eradication. Exploring the notion of un-sentimentality, being aware of ones own mortality and freeing oneself from the urge to tamper with what already exists in its most perfect state. Exploring notions of permanence and impermanence, the concept of indefinite duration and the control to be held over such a process is frequently indulgent and often quixotic.