1 What is/are the primary reason(s) for you to make work in the
I donít feel I have a choice, in the same way that a singer will sing, a poet will write, an inventor will invent etc.
2 What do you intend your work to convey to an audience?
I wish to affect the psyche of the viewer through an involuntary response to the work, whether this response is sensory, psychological, emotive or all three.
3 Why do you work in your chosen medium and format?
My practice is multidisciplinary and involves site-specific installation with a selection of materials and media including found objects, multiples, sculpture, video, sound and light. The medium, materials and format change with each piece and are determined by the artistic intention, the context of the work and the site.
4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ?
This varies considerably according to the materials / media employed. In the beginning I usually struggle with the particular material as I test its boundaries and limitations. Then I troubleshoot for technical problems in terms of scale, structure, sound quality, aesthetics etc. The work is generally built on site for the first time during the installation period and it can change quite radically at this point as the site influences its manifestation. I use devices such as sporadic sound, live malfunction, scale, and the multiple to introduce a sense of unease and anxiety in the space.
5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work?
I donít think that I am directly influenced by other artists or art works. The language of an artist is personal and belongs to him or her exclusively. I enjoy art that I find challenging intellectually or that challenges me as a viewer and an artist. Also work that is inventive and innovative in its materials and manufacture, and is reflexive in terms of form and content. Artists I whose work I admire include Fischli and Weiss, Mona Hatoum, Ceal Floyer, David Mach, Douglas Gordon, Shirin Neshat, Michal Rovner, Maurizio Cattelan, Tadashi Kawamata, Martin Creed, Jane and Louise Wilson, Christoph Buchel, Gregor Schneider, Phyllida Barlow, Jessica Stockholder, (Iíll stop now).
6 What stimulates/informs your work from the world around you?
My own experience of the human condition.
7 What stimulates/informs your work from your own personal experience?
Everything: friendships, relationships, emotional experiences, psychological conditions, fears, failures, insecurities, etc. - particularly those insular and alienating moments that are part of the human condition.
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?
My visual references are from the everyday, the familiar and the domestic environment. In recreating objects or spaces that we encounter on a daily basis, I replace their normally functional or benign fundamentals with elements of malfunction or mishap through misuse, misrepresentation, scale and the multiple.
9 What are the main problems that you face in making your work?
Time and money.
10 Where do you intend to take your work from here?
Itís a surprise Ö