My hands are always dirty with a kind of dirt that seems to be embedded deeper than my tattoos, and to be honest I don’t really mind it. I would much rather seeing my hands filthy hands from a days metalworking, than sit inside in front of a computer. This DIY Moto and associated aesthetic is one I explore in my practice. Im increasingly keen to be able to control the whole process of my making , from sourcing or processing raw materials , to manipulating them in to final art works. Perhaps it’s the anarchist in me.

I remember one squat we opened for an exhibition had all the copper water pipes removed rite down to the mains supply . We spent the week stealing hose pipe from B and Q and ran it up the stairs to all the taps. It was a crazy system which looked like an incredible installation, but at least the toilet worked. This need to be self sufficient , to understand how things work and unpick the world around me is still seen in my practice.

A sense of humour and a genuine interest in connecting with people through absurd artistic interventions and inventions is key. By hosting events or forming unusual groups or societies, such as the awkward anglers magnet fishing club, or the Peckham amateur tracking society, I not only generate material to work with , but open up platforms for people to meet and conversation to occur more freely between strangers. These accidental moments and chance encounters which make up my life are at the heart of my work. Im a story teller and these experiences often trigger in-depth research projects.

I have an aversion to modern technology and so allow my interest in folklore, and stories or skills from the past to inspire my material choices, and making techniques. I like to blend bits I borrow from the past , with things that I find in the present , a kind of historical mash-up, like when they drop a bit of 70s rock in to a techno mix at a squat party . Some how it makes sense.