I don't consider my work to be abstract; it all comes from my own life, the arc of which is the narrative. It's a metaphysical space, peopled, full of furniture, personal stories and locations, which I use as a fuel cell to generate new meaning for myself. It works best if I ignore the possibility of the audience; a reverse suspension of disbelief. When I’m working I don’t consider what the reaction to the work might be.
All objects are more or less found; even a sheet of paper is a product. I am interested in what happens to materials after they've entered my zone of influence. I like to work in a free space where things can come together. Every idea and object has a history, which describes its provenance and tells you what its doing there. But you don't need to know the history of an object or a person to have an insight into them, because everything is available at the moment when things are seen. There's no point trying to tell every little thing because everyone reads things differently. The presence of an observer unavoidably influences the meaning of all objects.
Text courtesy of the artist