In response to the question "How do you describe your practice?":

My mode of working involves firstly observation and gathering of materials, objects, ideas, creating something I may have to accept as cluttered or overwhelming and then distilling from that individual (effectively minimalist) works. Formal considerations are critical in exhibiting: the intention is rarely to provide evidence of an entire process.

I can frame this work in a number of ways, for example in terms of medium or the arenas I know best: digital tools for simulation and animation or photography. Relating art to ‘skills’ in this way keeps a certain kind of ignorant critic at bay but clearly the techniques employed are not always fundamental and in fact expertise can be a barrier. Typically what emerge are short looping films, animated stills or ritualistic performances presented in conjunction with certain objects and prints. Generally evidence of dynamics and the timeline is palpable in the work though escape from the 'time order' is part of the intention. Photography underpins much of what I do, whether in the form of anti-photography/anti-representation, embedded with Live Art or extending into the virtual realm and moving image.

Another way I structure my interest is in terms of the idea of Feedback Loops and circuits of this type which are partly an attempt to account for the communicative flow between different entities. Thinking of this kind is also an admission of the problem of categorisation and separated-ness. This starts to get to the core of what interests me: the relationships between people and things or people and people mediated through things including what is reflected back. My work is fundamentally observational but also about prodding or tickling in order to upset the equilibrium in these looping relationships (I think).

Mocksim