“Dancing, playing and listening to 

music are my main life-practices. These
activities prepare me for my work as 

an artist. Although artistic ideas are
a mystery — by repeatedly referring us back to the mystery from which they
emerged, they put this mystery at the centre of the art work - many of the
insights I follow as an artist are a direct 

or an indirect result of my dancing,
playing and listening. This is how I learn about timing, space, dynamics, texture, layers of experience, different states of being, levels of consciousness, the nature of creativity, self-invention and beauty. 

My work also presents a deeply rooted tendency towards the performative.
This predisposition — possibly shaped 

in part by studying theatre in high-school
and being profoundly impressed by the combination of avant-garde music and
performance art that gained popularity in the 1980s — places a great significance
on art as a shared experience. The meeting of audience and the art work,
the art event as an encounter, and how 

it unfolds in time, have always been
central to what I do. It is also embedded in the work itself as a formal interest
in narrative and the structure of stories 

as a mould for human experience.

The concept of the soundtrack carries 

a great significance too. As well as being
partially related to the organisational 

trait of stories, it implies the separation 

of sound and image from their original context, dissecting perceptual reality 

and reassembling it together to make new realities and imaginary worlds. 

This complex, evocative gap between the seen and the heard, this vast poetic space, is where much of my creative work takes place.”