My art practice is subjectively personal, placing emphasis on story telling, social studies and a conceptual approach to representing the everyday—a way of working based on observation of the world. The work is highly autobiographical in nature and reveals a keen interest in record keeping, investigative research and the ethics involved in the act of looking. It undermines typical ways of collecting information and keeping history—the strategy subverts mainstream structures and standards. By incorporating methodologies of non-art disciplines such as social anthropology and behavioral psychology, my research-based projects embody a hybrid form of contemporary art practice. The work depends largely on process—the determining factor for many of my projects is improvisation: to set an event in motion and watch as it unfolds. Because my installations have always incorporated text—sometimes very large amounts—bookworks have become a logical extension of my art practice. The work, in general, documents my own behaviour—my experienced social interactions. It hinges on a kind of self monitoring, which only masquerades as voyeurism; the process essentially ends up putting me under the microscope.