‘My work has become increasingly involved with both physical and conceptual forms of movement. I have been making kinetic pieces- or “machines” that over time create different types of images being drawings, paintings, etchings, films, light projections etc. The machines are mostly mechanical and are sculptural objects that act out a kind of artistic activity, and are also kinds of unusual tools for the production of a large array of images. The kinetic character of the “machines” are recorded by the images that they help to make and thus an interesting relationship develops between image , object, space and time. The idiosyncratic nature of the pieces recalls early scientific instrumentation, and perhaps allude to the time of great spectacle when divisions between Art and Science were ambiguous and blurred. My work investigates how an underlying scientific structure or process shapes an object. The structure enforces a kind of function on the objects, i.e. if the objects need to move or perform a task, then the door opens to certain processes of technology and engineering. By solving problems incurred by friction, weight, tension, and compression, practical solutions have to be invented. The components of all these solutions can shape the whole object. The process of innovation changes an object to the extent where the final result may be quite unexpected.’

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‘My work has become increasingly involved with both physical and conceptual forms of movement. I have been making kinetic pieces- or “machines” that over time create different types of images being drawings, paintings, etchings, films, light projections etc. The machines are mostly mechanical and are sculptural objects that act out a kind of artistic activity, and are also kinds of unusual tools for the production of a large array of images. The kinetic character of the “machines” are recorded by the images that they help to make and thus an interesting relationship develops between image , object, space and time. The idiosyncratic nature of the pieces recalls early scientific instrumentation, and perhaps allude to the time of great spectacle when divisions between Art and Science were ambiguous and blurred. My work investigates how an underlying scientific structure or process shapes an object. The structure enforces a kind of function on the objects, i.e. if the objects need to move or perform a task, then the door opens to certain processes of technology and engineering. By solving problems incurred by friction, weight, tension, and compression, practical solutions have to be invented. The components of all these solutions can shape the whole object. The process of innovation changes an object to the extent where the final result may be quite unexpected.’