Like a deranged Amélie Poulain I carry out random acts of annoyance as opposed to Amélie's random acts of kindness. Subtle in their operation, at their best, these acts catch you off-guard and disturb convention as slight adjustments, slight disruptions.

The acts take the form of sculptures, reconfigured readymades, and minor architectural interventions. They have an unstable quality, not quite here, not quite absent, operating on the limits of nothing and much.

In 'Like it/Don't like it' I constructed two tables to uncomfortable proportions; too tall to work at and too small to eat around. One table ('Like it' or 'Don't like it'?) is slightly sloped so that the table top is no longer parallel to the ground. The other table is supposedly straight but still conspicuously wonky. Curious and awkward, together they present a fragile play of mere possibilities.