1 What is/are the primary reason(s) for you to make work in the first place? When I don’t work, a little internal flame that flickers inside me starts to grow out of control and the only pressure release that I know which works, is production in the studio. 2 What do you intend your work to convey to an audience? I truly wish this was easy to describe! The large scale works tend to have a combination of architectural, anthropomorphic, detritus, insect like and plant like forms and qualities within them. Combined in differing proportions they generate different effects and confront the viewer in different ways. The smaller scale works tend to be more like a study or a still life, and can be something of test ground for the larger works. 3 Why do you work in your chosen medium and format? I've been developing systems for making 3D works with paint, away from the 2D picture plane for over a decade. As the work has evolved my material requirements have changed. I used to use a fantastic acrylic which was manufactured for me by Golden Artist Colours in New York. The paint bares my name and was designed to my specifications. I pushed the material to its limits over the course of about 4 years and then discovered my current paint, which dries faster, cures harder and has a variety of extraordinary qualities (which allow It to be very diverse) some of which I am still discovering. 4 Technically speaking how do you go about constructing your work, that is the image or object itself? What devices do you employ? I pour layers of paint and smash them up with a sledgehammer, I pour the paint into casts to create devices such as nuts, bolts and clamps out of paint, which can be used to hold the work together. I also construct wires and structures of various types out of paint, which I also smash up. All these parts are then used to build assemblages which are usually wall based. 5 Which period(s)/artists/specific works of art are you influenced by and how directly? How does this manifest in your work? I think influences and effects are continually evolving things. I’m very interested in sculpture at the moment, as I've been put into shows with Anthony Caro and Barbara Hepworth, both of whom I can get real nourishment from. I look at early Oldenburg when ever I can and John Chamberlain too. I'm interested by the honesty of Francis Bacons work and Jasper Johns' use of devices. I don’t think though that any of these artists influence me any more than any other though. 6 What stimulates/informs your work from the world around you? At the moment: Carnage, powerful unforgettable imagery (usually from the media), structures, architectural devices, plant forms and colours from the natural world. 7 What stimulates/informs your work from your own personal experience? Pinches of many things but mostly a combination of physical experiences and received Information, coupled with the emotions that they generate. 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? Every now and then I see something, often fleetingly, a structure or something totally unrelated to anything In my work, and Its like an electric shock, I have to immediately note it down in the form of a drawing. This happens a few times a year. These drawings almost always turn into works if I can translate what I've seen into something on the studio wall. 9 What are the main problems that you face in making your work? My studio could be a little larger! 10 Where do you intend to take your work from here? Outdoors.