I’ve been asked about the range of my artwork. Not only do I use a wide range of media including performance, participatory, novel writing, painting, site-specific interventions and film, but I explore a wide range of seemingly unrelated subjects. For me, they’re not unrelated but, it is true, for an artistic practice, it is a wide and relatively disparate range of interests.

This is a brief attempt at an overarching theme:

Art, for me, is a philosophical praxis. What I mean by this is that for me art is a philosophical enquiry using materiality to explore, interrogate and enact ideas. All of my work explores mechanisms of power and an individual’s relationship to these. This includes the historical colonial past, with its legacies in the present and the present within neoliberalism.

Over the years my work can be broadly categorised into themes, which sometimes interleave:
late 1990s-2005 – the tourist gaze, 1999-ongoing colonialism and post-colonialism, 2005-2012 neoliberalism and neocolonialism.

I choose the medium that best explores an idea. I was trained as a painter (1987-90) so I’ve been drawn to the language and implications of oil paint: the medium of oil paint as motif for traditional power structures, but I also have a deep ambivalence towards stuff, making yet more stuff in a world with too much stuff in it and perhaps with too great a preoccupation with stuff. So I am drawn to types of practice that avoid this problem – ephemera, giving away stuff, performance, or sharing in participatory events. But I also like making stuff.