1.If you weren’t an artist, what else would you be?
A Ninja Turtle (Leonardo was always my child hero).
2. Can you tell us more about your work and what are the main ideas you would like to express?
Defining new spaces within architecture is the primary aim of my current practice. Using a language derived from minimal art, my work investigates different definitions of space and explores various ways of how viewers interact with it.
Through intervening with architecture, I aim to alter the way viewers experience space. They are invited to move around my work, whether it is a sculpture or an installation and by doing so, their spatial awareness is heightened.
For the latest exhibition ‘On Different Levels’ I created an installation, which alters the space of the gallery. It simultaneously connects and divides the gallery space through the use of thread, which runs through the gallery. The installation created for Marsden Woo Gallery ‘Connect/Dissect’ also plays with the definition of drawing and sculpture.
3. How do you start the process of making work?
I always start by visiting and studying the site where the work will be installed, as without the site my work cannot exist. Once it is decided what form and materials are needed, I creating the work. The making of the work always happen on site, and is generally the fist time I can see the work properly. It normally is very time consuming and involves repetitive actions.
4. Do you consider the viewer, when making your work?
Yes, quite a lot. I give a lot of weight to the presence of the viewer in relation to the work and the site where the work is installed. I believe that without the viewer, my work is not complete. The installation at Marsden Woo Gallery requires the viewer to walk around the space, as the work does not have one fixed viewing point. It encourages viewers to be immersed in the work in order to experience it fully.
5. Name 3 artists that have inspired your work?
Fred Sandback, Sol lewitt, Olafur Eliasson, Felix Gonzalez-Torres, Robert Irwin (last two artists were given to you as a bonus).
6. Name 3 of your least favourite artists.
Only 3? There is an endless list… but that is only because I do not know enough about them. For all I know, they can become my 3 most favourite artists in a few years! In some cases I very much doubt it though.
7. What defines something as a work of art?
I think viewers define works as Art.
8. In times of austerity, do you think art has a moral obligation to respond topically?
No I don’t think that it has a moral obligation. If every artist creates work to respond topically, art becomes dull, boring and predictable.
9. Anytime, any place – which artist’s body would you most like to inhabit?
Mine is doing ok for now.
10. What is your favourite ‘ism’?
11. What was the most intelligent thing that someone said or wrote about your work?
I guess it has to be when someone once told me that my work highlights parts in architecture, which he did not notice before. That gave me great satisfaction.
12. And the dumbest?
“I did not see your work… Where was it?” It happened more than once…
13. Which artists would you most like to rip off, sorry, I mean appropriate as a critique of originality and authorship?
Fred Sandback. His work is currently very influential on me.
14. Do you care what your art costs? State your reasons!
Yes and no. No because most of my work is very ephemeral, I create it intentionally to be destroyed after some time. Yes because unfortunately nothing is free in life.
15. If Moma and the Tate and the Pompidou wanted to acquire one of your works each, which would you want them to have?
They are more than welcome to have anything they want! The problem is that nearly all my work does not exist anymore…
16. What’s next for you?
Start planning new projects, which include a series of group shows.