We are two British artists working mainly in sculpture.

Over the past four years or so we have developed         a collaborative practice
        in the conception and realisation of our work that we find liberating         and
        interesting. It is an expression of our common interest in ambiguities         in
        the idea of authorship and expression - having both worked with found        
        objects and images that allow a degree of distance or role playing in         the
        making of the work we naturally came to a point where it made sense
        to treat our ideas as possibilities to be shared or swapped. In making        
        our respective work we found that we were posing ourselves a similar
        set of questions - can one express something by adopting second-hand
        means, how do images ‘make sense’, does one make things for         someone
        else, what are the rules and does one follow rules in breaking them?

Increasingly we are focusing on a certain stupidity in the nature of
        our relation to images and objects. We want to work on finding ways
        to disturb the comfortable ‘transmitted idea - object/image - recieved        
        idea’ formula, to play with the way that an image can stand in for         an
        idea. This has led us to look at museum displays and other pedagogic
        compositions as well as shop windows and adverts that seem to offer a        
        model of transparent direct communication - the image or object as an        
        ambiguous remainder in a process of communication. We are trying to
        enhance the inadequacy that we see in all efforts to communicate, in
        order to make the encounter with the work more disturbing.

We are also interested in the range of possibilites in the making of
        something; the idea of ‘style’ and the relationship with materials.        
        Embracing the badly made, the overworked stating the obvious, slightly        
        incorrectly, through inadequate means in order to communicate abstract        
        and difficult concepts - conjuring up the sublime using modelling clay        
        and pasta. We follow an instinct to make the work when it makes
        us laugh, not because we want to make work that is simply funny or
        ironic, but because our we treat our laughter as a clue that something        
        is disturbing.