I construct environments that you enter into
Kind of an envelope, if you like
which you can then be inside
I don't have a routine to the day really, sometimes I might be sound editing
sometimes I might be working with quite big physical processes downstairs
I often work with new materials or try things out
to see what they might do
I always have to touch everything myself
It's very much about the process and it's the
process isn't something which I can delegate to someone else because
a lot of the decisions are very intuitive
So these are the first test pieces to check if it works technically
If this works then we're gonna pull some really big ones
I just collect a lot of things in the beginning, I'm not really interested in
things that already display their value
It's about how things come together that
become something interesting
A lot of the things I work with are the leftover materials
They're leftover things that haven't really got a particular purpose
or use so they're free to become anything
And I think the bits of space that
I'm interested in are also like that they're the leftover pieces of space
Like if you think of the city a bit like the sea and then you have these eddies and
corners where things get stuck and get left or the tide goes out and things are
left there
And I think the materials I work with are those kind of things which
are in a way, I think of a bit like the unconscious - of the collective
unconscious of the city somehow
It's like our memories or our -
It's like all the things that you have deep in your head, you don't really
look at them most of the time but they form you as a person
This is as much as my studio as my the studio is a studio
It feels very peaceful doesn't it in a way
but as soon as you put headphones on when you're recording
you just hear so much stuff
These places I really like the actual studio in terms of the thinking space and...
gathering space I suppose because they're full of unexpected encounters or
accidents or things that you don't anticipate
Drifting down here it's quite meditative
Drifting's like a really nice sensation isn't it because you're
making progress but it's also out of your control
To get everything done there needs to be quite a clear structure but then within
that I like to allow processes to run their course
and to allow accidents to happen
I can't ever say exactly what something will be
until it's finished and that will only happen in situ
I've often observed the work
at a distance to see how people relate to it, how they react to it
how they move through it
I went in one day in one of the gallery guards, he said:
'You can't believe what I saw yesterday, there was a 16-year-old girl
weightlifting with your concrete. I can't believe that this happened'
And he was shocked because it was a gallery and he was like people know that
they shouldn't touch things in the gallery
And that's true but in another
way I was quite thrilled by that reaction because the fact that she'd done
that meant that she had totally embraced - she didn't feel like she
was in Hayward Gallery anymore
I guess everything that I do
might be focused towards creating this particular atmosphere
So you can of course see an image of it and you can read about it but you can't really
understand what it is unless you're within it and that's the main thing
about this works
It's the feeling of being in them