Q. Photography is often understood as something that documents or preserves a moment. Your work seems more interested in transforming the photograph itself. At what point did the image become a material rather than simply something to produce?

A. My inclination to work physically with the materials that interest me, seems to creep into my image-based works slightly further with each piece I make… leading me towards these transformations of image back into material. 

I think there will always be balance between a kind of behind-the-scenes intimacy, and a more physical front-of-house presentation, within how my image works consider materials. 

Q. Your practice sits somewhere between photography, sculpture and installation. Do disciplinary boundaries still feel relevant to you, or have they become something to work against?

A. Yes, I still think a lot about disciplinary boundaries, and personally still find them relevant. But mostly in order to reference and reflect my works against other artworks, artists and conversations. I feel it helps me gain a sense of positionality in the world of artmaking, and to find those unfrequented interdisciplinary areas that excite me.

Q. Industrial materials, fabrication techniques and construction methods recur throughout your work. What keeps drawing you back to those systems and surfaces?

A. Monochromatically, the textures of industry are wonderful to investigate, document and reproduce. They feel to me… surreal and otherworldly. Producing truly uncommon topographies… ones that I love to throw under the microscope.

Overall, industry is an incredibly interesting wider picture to gradually research. An inevitable in our fabricated world… that will need to continue shift and mould as our awareness of its impacts do too.

Q. Experimentation seems fundamental to your practice. What are you currently investigating and pushing further in your work?

A. Currently, I’m trialling a few new printing processes in order to work towards a totally fresh body of work…. But much more consistently I’m daydreaming of finishing touches, often visualising framing, presentation or installation styles for these new image-based works. This string of thought always travels with me during the making process, rather than after.

Q. Is there a question that continues to follow you from one project to the next, even if the work itself changes?

A. Certainly, I think the common endeavour that carries through all my works is an attempt to stretch photographed images into different kinds of positions. Positions within the world of contemporary art, as well as new stances alongside what the image itself is actually documenting.

Q. Every artist develops a way of recognising when a work is complete. What tells you it's time to stop making changes?

A. I’ve previously been quite straight forward with knowing when a work is complete – as it comes to a fairly precise point that I had been picturing for it. But in recent years, my works are stretching over longer time spans, and more frequently ending in places that I hadn’t first imagined. It’s a much nicer openness to have, and I hope to continue to find myself nicely surprised by where my works end up and when they feel finished.

Q. Outside the studio, what kinds of images, objects or environments quietly influence your practice?

A. Small everyday moments catch me off guard…. Often when I’m not thinking about my work at all… I get sprung with something that sparks a small explosive chain of thoughts linking it to my practice. 

Things like uncommon intersections of material, naturally formed textures, half-finished processes, or public scale infrastructure can ignite these chains.

Sometimes just seeing something out of the corner of my eye, or catching an everyday object in a new light is enough. 

Q. What's been playing in your headphones when making lately?

A. Seemingly quite incongruous to my outcomes…. But I’ve been listening to a lot of reggae and slow dub music lately. This is far from exclusive in my headphones though. It’s always a bit of a washing machine in there.