inclination
/ˌɪnklɪˈneɪʃn/ noun 1. a person's natural tendency or urge to act, feel in a particular way; a disposition.
Artists:
DYSPLA
El Lecko
Max Arnold Nevard
Kyron Thomas
Gwen Newhaven
Raymond Newhaven
Mia Newhaven
Stan Newhaven
Jacob Newhaven
Year: 2024
Digital Sculpture: 9 x .stl, 500mb (approx)
Film: 9 x 120 sec, 4k, .mp4
Billboard Posters: 9 x (1x1.5m) Blue Backed Billboard Paper, 350gsm
Text: 1000 words (approx)
DYSPLA
El Lecko
Max Arnold Nevard
Kyron Thomas
Gwen Newhaven
Raymond Newhaven
Mia Newhaven
Stan Newhaven
Jacob Newhaven
Year: 2024
Digital Sculpture: 9 x .stl, 500mb (approx)
Film: 9 x 120 sec, 4k, .mp4
Billboard Posters: 9 x (1x1.5m) Blue Backed Billboard Paper, 350gsm
Text: 1000 words (approx)
The notes circle around inclination as something that is physical, emotional, social, and sometimes overwhelming. Choice shows up as branches, rails, hangers, space, instinct, repetition, rebellion, embarrassment, control, paralysis, and freedom all at once. For some of the kids, choice feels infinite, like space, full of faces and stages and possibilities. For others it’s too much, and structure, sameness, or routine becomes a way to survive it. There’s a constant movement between wanting freedom and wanting limits, between impulse and self-control, between doing what feels true and doing what is expected.
In January 2026, DYSPLA worked with 9 students from Newhaven Pupil Referral Unit, Greenwich, “for students with an autism diagnosis and additional mental health concerns” [1]. Together we produced a series of pysical and digital sculptures in the form of chess pieces. These sculptures contain poetry written and performed by each student interpresting their personal interpretation of the concept of inclination.
A lot of the thinking sits around authenticity and performance. Social filters, masking, bravado, humour, rebellion, “cringe”, and being deliberately embarrassing all appear as ways of reacting to pressure and expectation. Choice is not just internal but shaped by power, by other people, by who gets to interpret or interrupt your decisions. Choices don’t just belong to us, we make them for other people too: “I make choices based on other people’s happiness; I make choices based on your growth.” Some notes drift into nature and instinct, animals and survival, calm and snow and space, while others stay with social identity, behaviour, and the tension between who you are to yourself and who you appear to be to others. Overall the notebook feels less like a constellation of voices and ideas, all orbiting the same question: what does it actually mean to choose, when choice is filtered through feeling, difference, control, fear, desire, appearance and the presence of other people.