1 What is/are the primary reason(s) for you to make work in the first place? This work helped me in a personal way; it aided the grieving process I was going through from the loss of my father. 2 What do you intend your work to convey to an audience? The importance of the function of an object and if the naming of it is determined by this. 3 Why do you work in your chosen medium and format? I am interested in physically dissecting a mechanical object to give it a new purpose, so the arrangement of its components is essential. And so it is only fitting that my format starts with a three dimensional object and ends with it. 4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ? The construction of my work is based on the original function of an object and then manipulating this to give a new perspective on that. As most of the mechanical objects are found in the household, vacuum – to clean, washing machine – to wash, fridge – to keep cold, I’ve focused on why they were made. Then I’ve embarked on a process of dismantling, organising and arranging to create my work. 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 interested in the idea of the readymade coined by Marcel Duchamp; specifically, his notion of the art coefficient - a relationship between intentionality and realisation. I found this to be useful in my work as the participation of the viewer is important to the way I work and how much they recognise both intentionality and unintentionally. The context of the car in art is influenced by David Hockney painting on his BMW 850C5i entitled ‘Art Car’ and Sylvie Fleury’s ‘Skin Crime 3’, where a crushed car has been painted using pink enamel paint. This is the application of paint being using on an object which was a part of my process in creating the fridge/table sculpture. I briefly looked at Charles Ray’s crashed car which had been dismantled, painted white and put back together. However my practice has evolved to focus on what the viewer will encounter when they see my work, you could say this is the display or presentation of the objects/work and so I use these terms loosely. The idea of Damien Ortega’s VW that had all the parts hung from the ceiling provides the viewer with a different outlook on the car which I found appealing. Gabriel Orozco’s ‘LA DS’ questioned the functionality of the car as it was a slim, slender and potentially unsafe. The functionality of an object has been the key reason for my choice of objects as they lack this trait. 6 What stimulates/informs your work from the world around you? My work is centralised around the everyday because of the objects that I use. This is combined with my personal relationship with the objects; all of them have been given to me by friends and family members. 7 What stimulates/informs your work from your own personal experience? The events that shape my life also mould my practice. The loss of my father has truly shown me that I cannot separate my emotions from my personal life and art, they are both intertwined and so my work feeds off it. 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 a part of my process, I research into the objects I work with. So I obtain the manual for the object, a vacuum, washing machine or fridge to see how it works. This compliments the dismantling process too as I’m aware of the components involved. In the case of Project KA, I purchased the Haynes Ford KA Manual. 9 What are the main problems that you face in making your work? Time is sometimes an issue, especially with the size of objects I’ve been working with. The environment that I have been working in because I’m usually working at home so sometimes its hard to have specialist tools at hand, In particular reference to Project KA. 10 Where do you intend to take your work from here? I have already exhibited Project KA at The Noble Sage Art Gallery in North London and the response was good. I have contacted Sky Motoring about this work as well as Ford KA enthusiasts, KA Klub and Autotrader.