The question that most interests me is: what is the relationship between sensuality and Superstructure?

My installations, objects, paintings and performances are playful, tactile and sensual. Using ready-made colour, my work draws on a popular, hedonistic eco-sensibility, pitting aesthetic seduction against ethical wholesomeness. A gesture of care is conflated with an artistic gesture, but is then compromised through the use of morally ambiguous material, an indulgence in formal design and a good-humoured awareness of an anthropocentric bind.

Informed by live art, my work hardly ever appears in the same configuration more than once. My objects and interventions often contain temporary and living elements, and I readily salvage components from older work to begin new. Each named work exists only for the duration of its public appearance. The life of the work is dependent, both, on the physical presence of its audience, and on the idiosyncratic logic of each physical context. In that sense, photographic and moving image records are only ever remnant documents, and not meant as stand-ins for the work itself.