‘I may initially depend on the collectivity of the newsroom, but in these works, I get the last word.’

‘Sometimes the ironies and rhymes around juxtaposed content forces me to respond in kind. At other times, I need to exercise my cosmic sensibility and force it to co-exist with the grim news of the day. After all, these works are not just a deep dive into world events, they are also an escape from these events through the making of art. Whatever this is, it’s not the same as fake news. It starts as news, but after it passes through my head, it becomes something else. My hands do the rest of the thinking.’

‘I never use Photoshop and my editing is primarily done using a printer, an X-acto knife and glue. My edits and process are transparent. It’s a lot like the way pre-digital paste up crews once put publications together. But whatever I decide, the printed part in the final work is always sourced from the original front page.’

‘I began this batch of work just prior to what has been referred to as “one of the most consequential elections in US history”. I kept at it through the insurrection and beyond. During this time, we dealt with our unprecedented health and climate emergency; with our reassessment of racial, gender and economic inequities; with the end of a war, and with so much more. Every day was an earthquake. But there were also little things like the death of a beloved local owl or how psychedelics are being looked at to treat PTSD. These are the facts, but they are just the start of my process. What happens next is intuitive and not very cerebral. Maybe this is the proper way to deal with our moment of “global weirding”. Maybe I’m running facts through artifice to create fictions, or maybe it’s the reverse. The one thing I know for sure is that the world may be going to hell, but art is still worth making.’