1 What is/are the primary reason(s) for you to make work in the first place? One of my goals may just be to create art that does not need to be read about first. It does not have to be understood. Understanding things all the time is tedious - so why not take a break from it? If I must; 'Discontinued', an ongoing work, stems form my desire to explore a set of themes all with a metaphorical link to the title; largely being based on censorship and death. It is part shrine, part stock room, part memorial. Religious relics morphing into video nasties. 2 What do you intend your work to convey to an audience? There is an immense amount of detail in my work. I would hate for it to soley convey one message or one possible interpretation - that would be boring, and also (for me) render the idea of a public exhibit pointless. Within my brain I have gathered and combined a wide range of influences that interest me, and turned a few into sculptural forms. I intend for these to, in turn, interest others. 3 Why do you work in your chosen medium and format? I do not work in one sole media. My sculptural works, shown collectively, are a chance to present an ambiguous mass of conlicfting images. I find that my song based performances are a suitable way to convey a more concise message. Drawn works sit somewhere in the middle. They can either be shown on mass - or as sole, contemplative pieces. All these (media) interlock and feed each other in different ways. 4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ? All my sculptural works are hand produced. No moulds. From 2007 They have made from a plastic clay which air dries to a consistancy rather like plaster of Paris. They are then sanded and painted with enamel paints, taking on a ceramic like appearance. Before 2006 works were still painted with enamel paints, but formed from a far more delicate material so after some research I swapped - being concerend about the longterm health of the art. Producing one offs is important to me - I enjoy the process and relative quickness. The fact that they are unique is also rather nice. If I were to produce items in a longer, drawn out process I would kill myself. My drawings are either plain old pen and ink, and fast. More elaborate drawings are acrylic and ink on card - often cut out and collaged. My songs are built up in the studio. Live performance is just me and my brother on an acoustic guitar. Sometimes even singing microphoneless. That is the purest form, and maybe the best. I have to enjoy the process, if not, the art suffers. 5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work? Pop art obviously, and a great apprecation for centuries worth of Japanese art - from 200 year old prints (lovely hands in them) to manga, especially that blobby bit at the end of 'Akira'. I'm a great fan of the vulgar - and think Otto Dix is particurlary fantastic. Claes Oldenberg, Oyvind Fahlstrom (and therefore Robert Crumb), Svankmejer, Dudley D Watkins, Gerry Anderson, Dario Argento and Martin Parr would be the first few names to spring to mind when I think about great visual artists. I also don't give a toss that Gerry Anderson may not be considered as an artist - or Dario Argento. Call it what you want, it is all art to me. 6 What stimulates/informs your work from the world around you? Far too much. I have to edit it down. That said, I don't like cars that much, and I can't draw horses. My little obbsessions change quite regularly - one day it may be Iron Maiden, the next Michael Jackson. The thing for the moment with with is the wealth of wonderfully sleazy Itallian films from the late 60's to mid 80's. There's LOADS. 7 What stimulates/informs your work from your own personal experience? A need to be liked. 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 think I have answered that one, rather a lot already. Poundland is good for cocktail sticks though. And I find kebab shops fascinating, not to eat from, but to photograph. OK, I sometimes eat a kebab as well. 9 What are the main problems that you face in making your work? Inspiration. you cannot force it. I do not work well without limitations - be they costs or time. 10 Where do you intend to take your work from here? I will always work in a variety of media, and a number of projects at any one time. That said, I would like to priortise my drawn works (I'm trying out new things) and see where that goes for a year or so. I'm also keen to make more music videos or animations with the animator Alasdair Brotherston. We're like thunder and lighting.