In a sense the exhibition is a chance to execute as many ideas as possible in some kind of a form. I like to work with an idea, and experiment with different ways of showing this, rather than simply to produce artworks. I guess i try and work as openly as possible, altho this is not always as possible I hope, and often I think I am blind to other options, which is why it is great to involve other people both in discussions of the work, and as collaborative partners.

I started describing my work recently as 'contextual' as opposed to 'conceptual'. It seems to somehow always respond to quite a specific context, and it's usually my lived environment. Most of the works for this show have come about as a result of speculating about things that exist in my everyday life; from frustration with city council, to interest in the signing systems, to my ongoing investigation of memory and everyday sites of commemoration.

Art for me, and for many contemporary artists, is not to isolate oneself in a studio and plumb the depths of one's soul. It's about being out there. This way of working can be seen as part of a whole tradition of 'post-studio practice'. Although I'm equally (more?) influenced by documentary than Art? True, it's a very loose, lyrical kind of document, but sometimes it seems to have very little to do with Art.

If at all possible I much prefer to make a work that can act autonomously. By this I mean, you don't have to be versed in Art history to get it. At the same time being an artist means to make works which reference other works, even if that is unintentional. So I still try to inform myself about other works that might be similar, or even exactly the same as the ones that work on.

Thanks to: Katharina Greven (Curator), Charles Matathia (text), Joyce Nyairo (text). Supported by: Goethe Institut Nairobifull project