click of causation

There’s a unique satisfaction in working with a favoured motif and transforming it. It’s like tasting a familiar flavour in an unexpected dish—recognizable, but elevated. The repetition doesn’t dilute the meaning; it deepens it. It allows for nuance. Echo. Evolution. Creating from the same ingredients but arriving somewhere new is its own kind of artistic alchemy. What fascinates me most in this process—what gives it philosophical yet whimsical weight—is the concept of dispositionalism. In traditional theories of causation, events follow events. But dispositionalism offers something far more aligned with how I work: a belief that causes arise not just from sequences, but from the intrinsic tendencies or potentials within things. A disposition isn't passive. It leans forward. It waits for the right conditions. This theory suggests that an object, a concept, a color, or a visual has within it a latent capacity to manifest a specific effect—but only when activated by a stimulus. In that sense, art becomes an act of triggering potential. Images don’t just “appear.” They arrive charged, waiting. Certain ideas hold within them the possibility of transformation, like electric charge waiting for contact. In dispositionalism terms, this series isn't a set of disconnected works connected by either a single or a few of the same images. It's a unified, dynamic field of becoming. Each piece disposes toward the next. Each one clicks something into motion. Hence: Click of Causation. The title itself is a play on the classical law of causation—the principle that every event (or effect) has a cause, and nothing simply “happens” without a reason. But this is not a cold or deterministic law. It’s fertile. Creative. In its artistic variation, it becomes: if event C causes E, then E could not have existed without C. This is where the poetry of logic meets the logic of art. From this principle, a new bodies of work splintered off of each other—Venusian Family Portrait—a separate but entangled collection as it shares some of the same imagery, or one that I find particularly haunting; a piece of photography for a local fashion magazine. A little click of connection. They are tethered through visual and conceptual causation.