My practice merges social and linguistic paradoxes, together with the impossibility of aesthetic neutrality. Nothing starts from a neutral base. I start building ideas, then fit the material to it; meaning the work constantly changes its appearance, with the core remaining the same. I am aiming for the most precise realisation of the idea, so the actual material itself has to be adaptable to the context.
The opposite of my work is playfulness and emotion. Everything I produce seems to dissociate itself from the viewer at first; and becomes more personal the more one interacts with the words within the installations, sculptures and performances. For example, the brutal gesture of a plastic arrow when it hits a wall and distorts itself.