I'd like to describe myself as a visual artist.
I'm really interested in contradiction and paradox and how that really speaks to our wider culture.
Yeah we've just had a conversation with the gulls... and we're in Lisa and Mark's fabrication studio.
It's been really lovely working with Lisa and Mark. When I first started the residency in Spike [Island, in Bristol] we got to know each other a bit and we've been working ever since together.
I tend to collect things wherever I am and that's become part of how the work gets made as well, a bit like a magpie.
I collect stacks of vegetable trays and food trays and I've used dried flowers quite a lot in some work. I've used dust and a lot of detritis, a lot of rubbish.
So, it could be organic or it can be some kind of manufactured thing.
It did become a problem though when I was flying from one country to the other or even if you go into government buildings and the alarm system would go off because I had scissors and tweezers and other odd paraphernalia in my bag.
My mum makes all these pincushions, has hundreds of pincushions and so I asked my mum if I could have some and then I've made other pincushions and then I've made a dot in the middle because I like the way the dot begins to look like a belly button.
My mum always embroidered our pillowcases when we were little and we didn't really seem to have very much in the house when I was little, I just remember these patchworks that my mum made and embroidered pillowcases.
When my mum was a girl they would get cotton sacks and then they'd wash them until they were soft enough to use as pillowcases and so I kind of extended that to the idea of pillows, dream states and what kind of dreams you have, so the Relics was also thinking about loss and memories and kind of dislocated states and kind of disintegration and so on.
Well one of the ways that I found I could keep working when I'm travelling is if I'm sewing or crocheting I make sure that I'm travelling somewhere on public transport where I have privacy because people could stare at you and want to know what you're doing or just you know be intrusive so it's important to get on with things.
Last week when I was here someone had spilled quite a lot of red wine, I think it was after a busy drinking session over there.
The project in Hackney around Windrush I wanted it to be a celebratory work. My parents came to England in the 50s so I have early memories of going to Ridley Road Market mostly because my mother always met her friends.
It's interesting that I've chosen those particular fruit and veg because they're what my mum, what she ate when she was pregnant with me.
I like the idea that I might have internalised these particular soursop, custard apple and breadfruit.
I like the idea that you know there's this whole side of nurture and healing and mother and daughter relationships and intergenerational information being passed on.
Every time I'm in Hackney I'm always fascinated because children just sit on them and they climb on them and I really like that that there's a serious conversation around the work but then there's this possibility for play and that children are learning about structures and sculpture and about foods from the place that their parents come from, so they connect them on lots of different levels.
