1 What is/are the primary reason(s) for you to make work in the first place? Its difficult to explain that – it’s a sort of sense of wanting to share what I see and experience – and maybe just maybe affect how the viewer then goes on and experiences the commonplace. 2 What do you intend your work to convey to an audience? There is no message and no story – just the now, a constantly renewed moment in the present. I hope they find a moment of beauty to enjoy. 3 Why do you work in your chosen medium and format? There is no one medium with which I work – although the most common factor in most of my work is the use of light. I believe a careful and selective use of light, and the context in which it is employed can connect to something far more beautiful and profound than our narrative conscious mind – to a message without words. The primary format of my work could closest be described as ’installation’. This allows careful control of many variables that contribute to the viewers experience of the artwork – and with much of my work allows it to be displayed in an understated and unannounced way – rather than given centre stage. 4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ? The range of techniques and materials is very broad – but each work begins with a lot of experimentation and mocking up in quite a rough fashion. Decisions are made to refine the work, which is when the technical challenge of executing it poses itself – but no two works will have the same solution. 5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work? A group of artists in California in the 70’s worked directly with light as a medium – most notably James Turrell whose work I hugely admire. Turrell talks of a ‘wordless thought’, and his voids and skyspaces are some of the most beautiful works I have seen. It is the experience of the work rather than the particular approach that influences me. 6 What stimulates/informs your work from the world around you? It is those moments that stop you in your tracks even for the briefest of periods – the out of place object, the fleeting movement. It is these glimpses of the sublime in the commonplace that I try to give a more concrete duration. 7 What stimulates/informs your work from your own personal experience? It is my personal experience of the sublime that stimulates my work – whether as experienced in everyday moments as described above, or the feeling of a viewing a Barnett Newman canvas. 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? As described, I source things from the world around me and can implement them in a quite a literal fashion – or a subtle observation may be exaggerated. 9 What are the main problems that you face in making your work? I am often battling what with to reveal and what to conceal – how much of the mechanism of a work should the viewer have access to and how much should remain a mystery? 10 Where do you intend to take your work from here? I cannot really say - I have learnt not to force the genesis of my work. The chance encounter that triggers an experiment cannot really be planned and I am happy for these accidents to happen when they will.