As someone who is simultaneously baffled and fascinated by the everyday world, my artistic activity allows me to explore the questions that niggle at the back of my mind.  Often these questions focus on the entanglement of people, process and place.

Collecting and recording are a starting point for my process, often through a physical engagement with a place.

Making is a way of looking, reflecting and making sense of my encounters and experiences. The media and processes I choose allow me to get to know the subject I’m interested in and perhaps intervene directly with my surroundings. I’m drawn to the relationship between handmade and digital/tech and like to play with moving work between the two mediums.

Recently I am absorbed with the barely visible and overlooked processes and systems that exist within our surroundings and everyday life.  I wonder whether a stronger understanding and better connection with these unexamined processes would lead to new ways of being in the world: a sense of wellness and a new environmental conversation.

Sometimes I work alone but, more often, I choose to think and make with other people. I’m particularly interested in how we experience places and processes beyond the visual, looking to engage the less appreciated senses. I construct spaces, processes and journeys that invite other people to join the process of enquiry; start fresh conversations and ask more intriguing questions.

Working within a social context and blurring boundaries between art and life raises questions about the nature of collaboration and participation and the delicate balances and tensions that exist within this type of work. I’ve been gradually developing a vocabulary and toolbox that I can take into different contexts. I view these ambiguous art-forms where art and people are brought together as a constantly shifting ground. This need to better understand the social relevance of contemporary art continues to underpin much of my practice and often leads me deep into the invisible social systems and processes that exist within the world of participatory art and beyond. This strand of activity emerges in long term collaborations such as Bury Sketchers.

Sometimes the different strands of my practice are difficult for me to pull together and understand as a whole. Very occasionally they converge in a moment of absolute clarity.  I try my best to stay grounded, keep it playful, get on with what really intrigues me.