How do sketchbooks inform and develop creativity and practice? This exhibevent explores the construction of a sketchbook through the metaphor of building and construction work via the channelling of tunnels, laying foundations and embedding of networks.  Artists Books, sketchbooks, and all compass points between will be explored and presented: log book, journal, an engine room, a place to store ideas, images, artefacts, experiences and memories, a place of exploration. This exhibition aims to explore a newly-recognised and rapidly expanding genre of artwork.

I manipulate and re-contextualize a wide variety of mundane found and discarded materials to create a dichotomy between something which is worthless and something that is valued; value created by the investment of manual labour, care, consideration and time.

"One of my artistic concerns has always been how to translate what it is in a sketchbook onto a wall. The relationship between a viewer and an image in a sketchbook is entirely different to the relationship between viewer and image on a wall. With a sketchbook, they can be tactile; they hold the book in their hands. There is a notion of intimacy, that they are privileged to the secret thoughts and journal of the artist. They are becoming involved in the creative process, seeing the raw workings and being invited backstage, as it were.
This is in contrast to the image on the wall, which they cannot touch, and which has become ‘a piece of art’ with all the weight that carries. Even though it may be essentially the same image, the expectations are higher and it is there to be judged by all. Does this translation process ultimately compromise the ideas and images in a sketchbook, as notions of aesthetics and the gravitas of ‘Art’ take over?   
I work primarily on the A4 size, because my sketchbooks are A4. I cannibalise my own sketchbooks – rip out pages, cut out images, photocopy, scan, re-use. The work fuels itself. Very few sketchbooks survive untouched these days."

The title of the book, and the body of the book are not the same. There is a sense of bitter irony, as the body of the book (unknown) reads like a 1950's sex education manual for married couples. The body of the book is bound with a glue gun and sellotape. It is intended that this book be left on a table in the library. It will become damaged easily through handling, and pages may fall out. If they do, please stick them back in with whatever is handy.

...all are experiments in a process that seeks to unearth a personal history formed between a post-colonial childhood in the tropics, and an adult life in the wilds of Essex. The work prefigures an imaginary point wherein the artist/collector becomes part of his or her own collection.
This piece is the record of a research trip to the medical museums of Paris: the Musée des Moulages at l’hopital Saint-Louis, and the Musée Dupuytren at l'Ecole de Médecine. The work comprises notes, sketches and models, and in fact the book itself becomes an object in this mini-collection: the classification of a process of visual research.