Intersentient States describes a field of reciprocal awareness between maker, material, and observer. It is not a claim of consciousness within matter, but an exploration of how perception itself can become shared — how the sensate encounter between person and object forms a zone of mutual presence.

Born from decades of artistic and scientific practice, the idea grew out of my interest in relational perception: the point where the physical and the perceptual meet. Within this field, each vessel, sculpted head, or painted surface becomes a locus of attention — an element that participates in perception through human engagement. Clay, pigment, or form may appear inert, yet through touch and observation they shape — and are shaped by — awareness.

The concept draws on philosophical and visual lineages: from the quiet formalism of Hans Coper’s ceramic forms and the architectural poetics of Carlo Scarpa, to the embodied sculpture of Elizabeth Frink, the spatial temperance of Ben Nicholson, and the fresco rhythms of Giotto di Bondone. These influences converge not as references, but as resonances — a shared pursuit of material thought and stillness before meaning.

Intersentient States proposes that art is not a static image or object, but a relational field: a moment of correspondence between sentience and form, where perception becomes a medium and matter becomes a site of encounter.

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