The intention of the artist, at any point within the process of a work of art should always be perceived as such: process. The failure of everyday life and everyday experience to meet our plans for it is the rich terrain for a relational practice that is concerned with how one engages with experiences. The philosophical investigations into the phenomenology of perception are a starting point from which I develop performance works which attempt to draw our attention to the way that we experience presence, awareness and memory. In developing my performance practice I am interested in the ways that a work of art establishes rules of engagement, so that a work of art is a game, not a lesson or a communique.

Performance art has a history of violence. I am not interested in creating violent images or actions. I want to love and respect my audience. I want to enter into the performance condition with an open mind that is responsive to change, after all the harshest critic and the audience member with the best seat in the house is me. I have to discover a performance in relation to my audience and the specific context of each moment, just as in life.

Naturally, I am not without my bias. I have a tendency to believe that it is the conditions of our experience of the everyday which shape our world. My work is a pedagogical tool for establishing a magico-marxist reality. The greatest gift in life is experiencing the everyday awareness that we have the ability to shape our world.