I make work which is.. I'm really interested in texture, and colour, and scale, and form and space, that sort of thing. And I'm trying to bring all these elements together. I usually create work which is.. I think primarily my interests are exploring space, within a certain context and a certain environment. I usually create work (sculpture) which will sort of hang in corner, things like that. Quite provocative still, and very fluid and colourful and quite dramatic and theatrical. Whereas this.. This is going to be more confrontational, cause its.. The viewer can't avoid it, where in previous works they've been sat at a distance so you can admire it like you'd admire a painting or photography, whereas this it's a bit more.. It's quite experimental, and that's part of my way of working really. I'm always experimenting.

SC: It is a teacher training course, it's a PGCE in Art and Design, I'll be teaching secondary school students for a couple of years until the course is fully completed. But I want to gain a lot of public skills, in terms of interaction with people, my oral skills and confidence working with people of all ages really. I'd like to, in the long run I'd like to set workshops based around my own practice. At the minute I'm still developing a lot of my skills and 'cause I'm quite young as well its really hard to sort of push yourself out there too much until you've really got the confidence and experience to back you up really. I mean I could do workshops now.. But I don't feel like my practice is at that level yet. I think I'm still learning a lot myself about it all and I think doing this course will really help me a lot, I mean there's two sides to it - there's the work (practice) and then there's me (artist), and they both have to be at that same level. I had the exact same problem but in a slightly different scenario when I was at University; I see it now but at the time I didn't - my tutors were under the impression that the work was kind of two miles ahead of me. It's like that still in a way, though I've caught up a lot. I think conceptually I understand what I'm doing more, and how my work fits into different, I wouldn't say genres.. more like movements with installation and sculpture and how my work situates within that. I think that if you work out the environment that your in, it's kind of like anything, you work out the next steps and the way to move forward, and it's the same with that really.

But I work.. Mostly now I'd say I work in sculpture, and I work in drawing. Drawing usually is the backup work really. Sometimes, I make the drawings so that they speak for themselves, so they're an art piece as such in themselves. I've started to do a lot of premature, conceptual drawings; where I think of ideas for an installation, almost like an architect designing a building sort of thing. I do a lot of those type of drawings now; they're really fluid and rough. With me working with space I'm usually working with a set environment. The work is quite site specific, so there's a lot of elements that I have to consider when I'm putting the drawings together. Sometimes I'll be working.. At the moment I'm kind of working with the senses, in some ways. The gallery space that the show's going to be in is quite enclosed, so i'm hoping that the work will create a strong presence. It's quite smelly, as well, and it's quite messy and grimy and dirty and the way it's positioned is quite confrontational so I really want to create an atmosphere with the piece. Sometimes I make.. I make a hell of a lot of notes, on ideas and things say related to the senses and how they can be incorporated into my work, and whether it will even work. Like I said there's a lot of thought process going into that now, whereas at one point it would be very.. Almost like a blank canvas - right lets make some art! It's not like that anymore. A lot of it is very.. Its notes, its thought processes, its development of ideas before I make the work. Then once I start making the work, that's when more obstacles hit me. Like with this (raindance) the main trouble I'm having at the minute is I have smaller pieces like this - the material itself is very clean and very fine, so the paint drips just perfectly. But when it gets down to making the real deal, its a lot more messy and grimy and as you can see with that one it doesn't really work as well. It's very experimentational in that sense because I never really know how it's going to look, but the idea itself is usually very solid.

So I can transport it all now, which is a lot better, so I don't have to throw work away, its always a pain throwing it away. The months of effort that goes into ideas and really making the piece, then it's wasted if the works being thrown. Then you've only got photographs to go on, which I suppose in some people's cases photographs are amazing, artists who do performance art - photography or video is the work; that becomes the work later on. I mean I do take a hell of a lot of photos of my work. Once I've passed the ideas and concept stage of things, it's all down to the process of making, right lets make this, let's construct it. There's a lot of development and a lot of changes happen, it's the same with those pieces there, there's already a transition - I'm thinking with this (raindance) to not actually have paint dripped from it anymore, as there's going to be singular pieces around it and they'll have paint on them anyway, so I'm thinking I don't want.. Overkill, I don't want it to be overkill. Like, 'you didn't need to do that.' Its tiny decisions like that which really I suppose is a major decision in terms of how it's received. I mean this has been sat here for months, but in the show it will be new, fresh faces; its crucial how its received really, especially with it being an installation like that. As they'll be passing through there's so many different things to consider and people have to be aware of these things. There's a lot of multiple levels working at the same time with it, and that's the way I visualise it anyway and the way it's planned. They all have to come together somehow, it's just getting that right really.