1 What is/are the primary reason(s) for you to make work in the first place? To create a new order within the use of objects, one in which gradually gains pulse. 2 What do you intend your work to convey to an audience? A universal language, both witty and poetic through the nature of its presentation. Rising a speculation that encourages a desire for an involvement within the making process. 3 Why do you work in your chosen medium and format? Examining nostalgia and the admirable from art archive and the accessible object. 4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ? Initially I just try and construct the idea not concentrating on creating a finished piece as once an idea is materially realised it goes through several transformations, to understand what it is I want the piece to visually achieve. 5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work? I would like to think my work reference a long line of art history from painting and the ready made and their significance through advocated levels of presentation. However more recently I have been interested in the works of Wood & Harrison and the staging and performance of their videos. This has similarity to my practise in the way they use the studio as a stage set involving the viewer in each experiment. 6 What stimulates/informs your work from the world around you? Presentation of objects particularly within the domestic, window display, monumental architecture and there visual status. 7 What stimulates/informs your work from your own personal experience? I have always enjoyed things that are out of the norm of certain social settings, disrupting the comforts of everyday ignorance and doing the unexpected. 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? Attention to detail within popular culture and its ability to signify a time as well as a level of refinement. Using photography to document both life and my practice, which evolve into a sketchbook and visual memory of insperation. 9 What are the main problems that you face in making your work? The materials used within my practice are carefully selected to ensure the work is cohesive. This can become an all-encompassing and consuming process. 10 Where do you intend to take your work from here? I’m increasingly involving video within my practised as it facilitates the anti climax involved within the performance aspects of the work. And it also enables me to intensify the unpleasantly seductive.