1 What is/are the primary reason(s) for you to make work in the first place?
Often I think about something that I would like to exist. I am then interested to experience it as a completed piece of work.
2 What do you intend your work to convey to an audience?
My practice concerns itself with capabilities and the expectations that are formed around them.
Often creating situations in which human physical and mental capability are generalized, I push them to the point where they simply become alternative ways of being or markers of potential, foregrounding the question of how success is determined in both life and art, and how 'real' or mediated this determination is.
3 Why do you work in your chosen medium and format?
I work mainly in sculpture, video and photography and although this is fairly multidisciplinary the attributes of the mediums play a crucial role in the pieces. A lot of the content of the pieces can only exist in the work and I play on that fact. For example, by manipulating the speed of footage of a man playing piano to fit a separate piece of music that in reality he could never play. As a result I shoot footage or take objects from around me to manipulate so the relationship to reality and the construct can be seen at the same time.
4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
I often use familiar subjects. I place them in situations that underline their inherent physical traits that often differ from what is perceived to be normal. As a result of this aspects of mimicry are fore grounded. The video piece ?Breaker' uses the dance form break dancing as a measure in the video to question what can be termed achievement. A man with cerebral palsy and a break-dancer mimic and interpret each others physicality through a series of movements. The result is a blurred distinction over what should and can be copied, learnt, taught, admired and is insulting in its mimesis.
5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work?
Nich Relph &Oliver Payne, Diego Perrone, Phillip Parreno, Anri Sala and Mike Kelley have all made work I admire. Although these artists are quite varied it is perhaps their approach to their practices and making work that manifests in my own, rather than particular pieces.
6 What stimulates/informs your work from the world around you?
One of the driving forces, in terms of research in my work and to me in general, is my fascination with the potential of human action. Surprise, prediction and expectation all play on the notion of control. What can we control with our actions? At what point can our expectations control what we, and those around us, do?
7 What stimulates/informs your work from your own personal experience?
I am attracted to humorous, awkward and uncomfortable experiences, how we make connection to our life and each other. My interest in areas such as dance music and performance has led to collaborations that move the work beyond my initial intentions. Therefore, my personal relationships often contribute to my work.
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?
You-tube, dance forms like break dancing, Krumping and music are some of the recognisable elements. These are implemented often as tools in the work to highlight an aspect of the subject and facilitate a common legibility.
9 What are the main problems that you face in making your work?
Because I am interested in showing the potential in things themselves, it is important to determine how much I control the work, and how much it determines itsí own flow. This is a fine and delicate balance I must remain aware of.
10 Where do you intend to take your work from here?
Iím looking at creating more complex environments for presenting video pieces.