1.The starting point for my art work is the process of making. While the idea for a work might come first the idea always changes in the process, being dependent on a multitude of material combinations and variables.   Because I am not concerned with being identified with any fixed "signature" or with "mastering" a medium, I work across a variety of mediums. I also feel that certain ideas are better represented through specific mediums; often this is for art historical reasons (e.g., the modernist legacy), or simply because of my curiosity regarding the possibilities of a medium's visual and haptic qualities. I believe that art works offer up critical, alternative, even utopian, meanings about the state of the world and our place within it, resisting the instrumental reason (e.g., market) that, more often than not, generates mainstream culture.

In many respects, my art practice could be understood as a way of visualizing the unconscious, a way of investigating how language and images produce meaning within the individual, as well as how ideology works surreptitiously on the social/collective level. It is my belief that the sublimation and repression of desire and aggression is necessary to our construction and survival as social beings. Be that as it may, repression quite often surfaces in the form of more or less nefarious "symptoms." Meaning can emerge in new sublimated, rationalized, and often oppressive forms within the social realm. Perhaps in meditating on these issues, my work could be seen to stem from the release of creative energies from the strictures of social propriety, prejudices, and norms (often using humour as a device). I often work in the realm of obsolescence, using devalued forms and recycled materials and images. The uses and abuses of the natural environment stemming from excess-production and over-consumption are also intimately tied to my ideas and to my method of working.  

2. I am working on collaborative projects with two other artists. These collaborations take the form of performance for video. What interests me about collaboration is that even when one is working with a like-minded person there is always a different perspective being brought forward, and one is always bouncing numerous ideas off the other until things until something new and unusual comes about. An absolutely unforeseeable engagement with ideas and mediums results from such collaborative activity.

Since 2000, I have been collaborating with Abbas Akhavan. Our collaborative ventures have taken the form of outdoor interventions within public space, in the form of a drunken pastoral outing ( Greener Pastures ) and, more recently, investigating the phenomenon of elaborate picnics in public parks. Working in highly public spaces, these works offer a ludic investigation into the sources of power operating within landscape (surveillance/security versus subversive behaviour). These "performances" are site-specific, dealing with the history of the location and reflecting on the role of the artist as flaneur and pastoral figure.

Since 2003, my work with Natasha McHardy has taken the form of a series of videos called Roy and McHardy . Within this series, we explore a number of repeating characters that enact do-it-yourself television genres (e.g., cooking/interior decorating), and more recently the genre of the road movie. The characters deconstruct the structural framework of these genres by constantly disrupting expectations through verbal dueling games and coded compulsive corporeal behaviour. A consciousness of history, gender, and race dominates the video series.