1 What is/are the primary reason(s) for you to make work in the first place?
My primary reason for making work in the first place is for my personal interest and enjoyment. I believe that within the contemporary art world there are two types of artists: those who feel they have a moral obligation to communicate a global message, or to better the world through their work, and those who create work which is places emphasis on the viewer/participant, in which the work’s creation is not placed solely on the artist. I feel I belong to the latter category –I enjoy making work that involves active participation.

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

I do not necessarily intend my work to convey a specific message as such, but more so to present an alternative way for the audience to interact with their surroundings. Situations are created where the audience or participant could conceive the mundane as something unusual, where everyday objects and encounters realize narratives and have the ability to become theatrical.

3 Why do you work in your chosen medium and format?
I work with performance media as I enjoy collaborating with other artists, actors, and performers. I also feel that it is a medium with a lot of freedom, something that is ever evolving where no performance/piece is ever the same. It interests me to witness such changes in my work, with its variables. The work is in a constant state of flux.

4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
Primarily, I start with an idea based on a memory or everyday occurrence. Such ideas are then formulated in to a script or narrative, which the performance will be based on. Dependent on the nature of the work, I collaborate with actors and performers in which they act out the performance as I take on a more directive role, or at times I myself am the sole performer and I invite the viewers to interact. Such performances take the form of intimate one-to-one interactions, as well as guerrilla performances which take place in an urban environment.

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 most interested in artists whose work adopts a performative practice in relationship to elements of the everyday. As well as the early performances of Kaprow, artists such as Tino Sehgal, Francis Alys, Janet Cardiff, and Sophie Calle interest me in how their work seem to blur the boundaries between ‘the real’ and ‘the performed.’ The surrounding landscape of the city and its people become the work itself, and narratives are constructed through the appropriation of everyday materials and circumstances. I feel this manifests in my work through my performances that romanticize the everyday -how something seemingly ordinary has the ability to become something rather special when framed and performed in a specific way.

6 What stimulates/informs your work from the world around you?
I am constantly stimulated by my surroundings. From a performance perspective, I am interested in the studies of social anthropology and psychology, and I feel there is no better place than the streets to inform me of this.

7 What stimulates/informs your work from your own personal experience?
Personal memories at times are key to the construction of narratives within my work. Furthermore, my undertaking the study of performance from an art historical perspective has in turn informed my work critically.

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?
I seek inspiration from various everyday objects, especially those with a level of sentiment such as old diaries, books, photographs and memorabilia, which allows me to invent and imagine stories that may surround such objects. These stories both fictional and non-fictional are at times what lead to the creation of my narratives.

9 What are the main problems that you face in making your work?
When working with a drifting media such as performance, there is always the problem of documentation. A lot of my work remains undocumented because of its secretive and subversive nature. My current piece involving an unsuspecting audience does not allow for any upfront documentation as it would be immediately apparent to the participant.

10 Where do you intend to take your work from here?
I intend from here to continue making work of a performative nature, encouraging more audience participation and interaction perhaps in relation to communities. I am also interested in the construction of a “performance space” different to that of a gallery or theatre, a space that is designed specifically as a platform for performances and events to take place.