1 What is/are the primary reason(s) for you to make work in the first place?
It is a necessary activity and satisfies an ongoing obsession with making things.

2 What do you intend your work to convey to an audience?

The scale of the work turns the viewer into a gigantic 'Peeping Tom' to see the world we have created through the eyes of an outsider. All of the miniature works are different with complex narratives loaded into the design and placement of the objects within. The unsettling yet curious interiors are based on real places but a transformation has taken place. The work projects the viewer into a world of visual spectacles with social commentary.

3 Why do you work in your chosen medium and format?
I started making objects as a child and have continued to do so as an adult. The physical manipulation of materials with my hands is a constant challenge which engages me in both a physical and intellectual activity. Imposing different processes to a range of materials is highly satisfying.

4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
I always start with drawing and visual research so the ideas direct me to the appropriate materials. Sometimes I see an interesting process and want to use this in the work such as upholstery or paper cut-outs. The boxes are always made in sections so I can move them around and construct any size of work from a relatively small studio. When I first showed Headspace in Warsaw at Gallery XX1, I carried all the interiors in a huge suitcase and constructed the 8metre box in the gallery. The physical difficulties of making sculpture such as scale, weight, transportation and storage are overcome by the nature of their design and construction which in turn is part of the work.

5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work?
Looking at collections of objects and containment have always informed ideas, therefore artists who work with these facinate and intrigue me such as Mark Dion, Sylvie Fleury, Louise Bourgeois' (Cells), Yayoi Kusama. Also complex installations with informed narratives such as Anne Hamilton, Ilya & Emil Kabakov, Arte Povera, Joseph Beuys, Kurt Schwitters Mertzbau.

6 What stimulates/informs your work from the world around you?
Manmade spaces - architecture - the evolution of objects - the spectacle and display of objects in shops, museums, historic houses, domestic interiors - interior design - film & TV sets

7 What stimulates/informs your work from your own personal experience?
Family history and a congenital instinct to hoard objects throughout my life. Nostalgia and longing for something that is lost, yet a sense of curiosity and wonder for the world.

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?
Interested in historical and contemporary spaces which exude aspiration, excess, escapism and nostalgia such as the 16th century Wunderkammer, Renaissance and Romantic Grottoes, 18th & 19th century peephole boxes, department stores, celebrity homes etc.

9 What are the main problems that you face in making your work?
Finding enough time.

10 Where do you intend to take your work from here?
I am currently working as artist in residence at the Museum of Garden History which will develop into a series of new works based on their collection to be exhibited there early next year.