1 What is/are the primary reason(s) for you to make work in the first place?
No choice really. I feel it has to be first and foremost about absolutely needing to make work rather than feeling you should make it for something or someone else. Obviously what is produced is effected by experience and the hope that it will be seen by an audience. It is a way of trying to understand myself and how I feel about the complex world we live in. Often it is only in retrospect that you can look back at your own work and understand what and how you were feeling and thinking. I make things that I want to see visualised in the ‘real’ world that don’t yet exist. This is generally an infinite combination of already existing imagery and ideas that have been filtered through me and return in another form.
2 What do you intend your work to convey to an audience?
The audience will always bring their own history and so there can never be one reading. Which is what’s great, I don’t wish to give answers or preach ways of thinking but I do hope that the work has a strong sense of the time we live in. To be current/contemporary is important to me.
The idea of seduction and repulsion is very important to me. Like laying bait in a trap. I want the audience to take this bait and then hopefully get snared and have some kind of response. That’s a hard task within a society whose senses are bombarded to the point apathy.
3 Why do you work in your chosen medium and format?
I have always tried to explore each medium in an a way that most efficiently makes use of there own inherent meanings, qualities, histories and contexts. Often shifting what would be seen as there usual function in order to subvert ideas of hierarchy of mediums. Also using the medium itself as a ’lure’
4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
Each medium informs the others and hopefully they grow organically together. Painting, collage, video, watercolour, felt pens, stickers, glitter etc are all floating around and are interchangeable depending on what I want from a specific piece. Exploring new mediums and therefore ‘learning’ new skills is very important to me. To never be bored or over familiar and therefore avoid falling into set ways of making.
5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work?
Goya, Guston ,Picasso, Dekooning, Baselitz, Otto Dix, Ensor Warhol, Mike Kelly, Paul Mcarthy, Tony Oursler , George Condo, Chapmans, offili, Raqib shaw, marcel dzama, dana schutz, Daniel richter, hiroshi sugito, barry mcgee, david altmejd, tal R, Mark Titchner, Nigel cooke, Lara Scnitger. Noble and Webster. Amongst many others.
6 What stimulates/informs your work from the world around you?
Music, video games, film (mainly horror) – Love John Carpenter, Cronenberg, Romero, Lynch, Kafka, Cormac Mcarthy, Zizek, Tarkovsky, Herzog etc etc…, all the stuff ive ever seen that may have had enough resonance to stick in my memory bank and be interesting or relevant enough to get processed through my own practice.
7 What stimulates/informs your work from your own personal experience?
8 From where do you derive your other visual source material (i.e. non art historical) and how do you implement this material within your work?
The Internet is a wonderfully strange place, its like a big weird organism that you can feed vague ideas into and it gives you back even weirder images. I’m sure it has changed the way artists work, we have access to images of almost anything we want, and loads of stuff we didn’t even realise we wanted.
9 What are the main problems that you face in making your work?
Working out why and how and who and what for? A wonderful problem that I’m sure will never reach a resolution.
10 Where do you intend to take your work from here?
I want to avoid predictability. Maybe if I’m really fortunate with my choices ill make some work that lasts the test of time. Wouldn’t that be nice, even if I was not around to witness it.