In African cultures, a cult house is akin to a sacred hut or shrine in which a community stores its ancestor statues and magical powers objects for initiates to refer and activate in their private ceremonies - perhaps in a similar way to which museums exhibit rare and unusual items to their visitors.
Taking the concept of the Lookout as a tower for looking onwards over the horizon, and inwards to the world of the imagination and the supernatural, Caton presents spectators with his own imiccl world in miniature, in which many of his totems are made from salvaged, recycled driftwood, flotsam and jetsam sourced from the local coastline.
A collector of fragmentary stories, remembered dreams and archaeological finds, Caton presents a tableau vivant that is both enticing and disquieting to the viewer, and through his experimental use of colour, he reaches out and connects spectators to the inner world. His work is often hard to categorise and has been described as a ‘supernatural garden’ by the American poet Clayton Eshleman. However, it operates on multiple sensory levels, and Caton often employs mesmerising colour shadow puppetry, slowed down repetitive movements, grotesque masks, with live drawing/painting actions in richly layered performances.
