Describe what you do creatively.
I primarily use analogue techniques involving paper, wire, photographs and paint. I often work with collage as a starting point for making work. I make small maquettes and models out of wire, found objects, plaster and paper. Photography is central to my process. I use it to document and to compose. Recently, my works have found resolution in oil and acrylic paintings.
Do you identify as an artist, illustrator, designer or something else?
I probably identify most as a painter, although painting is only part of my practice. I suppose this is because of my interest in colour and process, and my interest in the two-dimensional image. 

Do you stick to a defined stylistic direction in your work?
To me, style is like the quality of a voice, or an individual’s mannerisms. It’s embedded in what you do. You can’t cultivate it consciously.  I think you only recognise your own style when you look back and begin to notice common elements across your work over the years. 
If so, describe that direction and what led to that decision.
That said, I value the look of improvisation, of spontaneous effort, and the aesthetic of scientific documentation. My works are often reminiscent of the museological.
What colours and/or shapes excite you?
All colours! Colour is central to my work, particularly how colour combinations can stimulate human perception. Browns, golds and blues are doing it for me at the moment. As far as shapes go, I like them all, but the rendering is important, I like hand-wrought, wonky shapes. Circles, I guess, are a favourite. I can’t go past a wonky circle.

What is your relationship with chaos?
It’s complicated. If chaos means constant, unpredictable change or disruption without an explicit design, then to me, the world is fundamentally chaotic. I regularly incorporate unforeseen elements in my art practice.  Chaos isn’t really something I think much about because it is an ever-present fact. I am much more suspicious of order.
Do you take risks or play it safe?
I think risk is implicit in art making. Since my practice is primarily process-based, I don’t create work with an explicit outcome or topic in mind. So, experimentation and iteration are important strategies for making. Every experiment involves a level of risk. If I know the outcome, there’s no point making. The risk with this approach is that “success” is not always guaranteed. This used to feel very scary to me. I used to feel that each work or project was a direct indication of my validity or ability as an artist. Fear of “failure” can be paralysing. To make good work, you need to embrace doubt. If possible, include it in your work.  Show the audience that you don’t know either, but you’re working it out. There is strength in vulnerability. Now I view doubt and fear as natural forces in the making process and they don’t scare me so much. 

What discourages you from being creative?
Fear. Fear is the mind killer. Also, too many options (parameters breed creativity) and overthinking things can mess you up too.

What are you expecting from the RMXTV experience?
I don’t know, a bit of chaos I suppose.  I’m excited to have a set of clear parameters in terms of time and space. I’m intrigued by the idea of prompts and am excited to see what results.

What do you know about the RMX projects?
Not very much, but I’m excited to take part.