1 What is/are the primary reason(s) for you to make work in the first place?
The primary concern of my practice is to do with the mouth as an abject, vulnerable orifice. As threshold to the body, the mouth is a space where inner and outer worlds enmesh and collide; it represents the corporeal in-between.

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

The work intends to involve the audience, even if only momentarily, into the actuality of the event. The work aims to bridge, what Gunther Brus called the ‘art/life gap’. Through process and deed, the action draws the audience into the space of performativity. This is affected by site, proximity to the action, and likeness to the ‘art’ that is corporeal body.

3 Why do you work in your chosen medium and format?
The body is a representation of what it is to be human. In being biologically, physiologically and cognitively knowable and understandable, it is a vehicle that is ideally placed to effect a state of closeness.

4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
The devices are my own, and others bodies. When artefacts, such as the rock tongue, are used, I make casts that are then manufactured to specification by a confectioner. When working with dogs I use complicity as a device: the dogs are encouraged to participate (in respect of ‘Licking Dogs’ with a lick), but they make their own response, rules and contribution.

5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work?
I am as much influenced by theory, such as Donna Haraway’s ‘Companion Species Manifesto’ and Julia Kristeva’s ‘Powers of Horror’, as other artists. Theory is used to stabilize ideas and make them tangible. Artists who take part in happenings are of interest, such as Marcus Coates, Oleg Kulik and Santiago Sierra.

6 What stimulates/informs your work from the world around you?
Humanity and what it is to be human.

7 What stimulates/informs your work from your own personal experience?
What it is to be a female artist. What it is to be female.

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?
Critical theory establishes the foundation of the work. It is used to substantiate, ground and stimulate ideas.

9 What are the main problems that you face in making your work?
Apprehension in others perceptions of art, and public devalue of practice beyond figurative painting.

10 Where do you intend to take your work from here?
The mouth will be of concern for my work for some time, but I am also currently embarking on a research period that will look further at polarities that substantiate and boundary the in-between. This involves magnetic ‘drawings’, flocked tongue ‘drawings’ made through performance, and the mechanics of drawing breath. I also intend to continue my work with dogs, and intend to make the performance live. A live male-female boxing match is also in development.