"I believe that multiple levels of reality exist, each with its own
laws, rules, and relationships. In my view, structures emerge from
patterns of interaction between complex networks of interdependent
I am fascinated by time, by how it folds in on itself, merrily stitching its way through the past, present, and future; and by how a memory can become inexplicably lodged in a physical space. I am also curious about the parallels that exist between historical images and a contemporary ones: often they can reveal the cultural assumptions that maintain the status quo.
Rooted in a personal experience of synesthesia is a steadfast interest in sound, with a particular focus on sounds which have been transformed into form, colour and movement. The reverse is equally compelling since I enjoy traversing the multi-directional continuum of transformations. This is clearest in my film work, which reflects the pioneering influence of Norman McLaren.
I prefer working in an open system and seeking the points at which complexity turns into chaos. My process is experimental, beginning with an idea, a thought, a question, a visual detail, a sound, a new medium, a technique - and then exploring materials to discover the thematic interconnections that underlie the work. In these investigations I make use of colour and colour relations as an expression of energy, and often employ humour as a site of resistance, owing much to Freud's ideas on humour and Bakhtin's ideas of the carnivalesque.
I have dedicated the past decade to examining systems of social control as they relate to climates of technology, consciousness, the environment, the body, and social politics: it is from this general ground that my artwork evolves. There is no definitive style to my work and I work in no specific medium. It falls into a constantly shifting complex practise that encompasses auteur filmmaking, sculpture, painting, soundscapes, activist art and installation."