The tension between ‘Art as Object’ and ‘Art as language’ are the fundamental notions that underpin my research project. The wooden constructions, readymades, and architectural environments that make up my practice act on the edge of restrained materialism and eccentric conceptualism. Titles such as …could we talk before and after… (Part 1), set up a narrative that the audience can expand through experiencing installations of fragmented objects. Language is a big part of my work. ‘Conjecture’ rather than ‘subjectivity’ is what is required from the viewer when expanding the narrative that I have broken and re-staged. Wittgensteinian thought, is where this focus on language stems from, especially his thesis on how language falls short in its fluency over reality. From Wittgenstein’s standpoint questions such as, “Is the artwork produced in language?” are asked. I look at the audience as an entity to play with, maybe even ignore. If language sets the stage for these broken narratives then the form in which these narratives are dressed, is restrained. I exploit the friendliness of wood to construct a stage of deceits. My uses of readymades act as ‘punctuation marks’ in the environment. They expand a narrative beyond the object. I love the aesthetic of the horror genre where crisis, terror, and the fictive reign supreme. So what am I up to? Well, that is the question that I have given the audience, if they are willing to partake.