Marsel Reddick is an artist and writer who employs combinations of sound, claymation, sculpture, and performance to explore the (non)existence of the socially individualized self. They are interested in affect as a magical device: a tool for transformation of the mundane and communication that transcends ego and logic. In their work, they attempt to challenge the binaries of self and other by drawing attention to the relational interactions between these ostensibly disparate entities, rather than their assumed differences. Marsel often draws upon magical and divinatory practices, inspired by the methodologies of fluxus and surrealist artists, to allude to invisible forces and interconnectivity. They use materials in this way too, considering the soothing effect of low-frequencies on the body, or the way claymations can conjure the presence of an invisible sculpting hand, or the anticipation evoked by a small sparkling object on a city bus. In exploring the (non)existence of the self, Reddick’s process oscillates between efforts to reject authorship, and introspective works based on their dreams and desires. They are interested in demonstrating how the search to greet the other within might dissolve the distinction between the internal and the external, revealing an overlap between the two.

 As an artist and writer, Marsel focuses on the dissolution of the self as a site for transformation. Their most recent published texts can be found here.