The idea that that space isn't sacred, how deeply ingrained it is, the home is this image of stability and people place so much of themselves on it as an object and as an idea that just by marking it or making this work you can start to challenge that and poke at that. The fact that an aesthetic mark can feel like an actual attack on the things that those spaces represent. There's real courts this idea of taking that psychological interior home and placing on the outside and making a very, very familiar object unfamiliar to people. Looking back at, I guess, the start of my career, I started doing these big projects, it really did come from that DIY attitude that was about Gorilla Filmmaking and having a background in Graffiti and Strader, we just make stuff and do stuff and you figure it out. These early works sort of set the time for what I'm doing now. Each project kind of informs the next one and it's sort of been a continuum for, you know, I wouldn't have expected that I'd still be making work on this theme but it seems to keep giving back or asking more questions so I can go out and, you know, pick at these ideas through different projects. I think the interesting thing for me is there's a community in there and I love people who are relationships to home or this sort of broad emotional pool that Icon has for people. People load the home up with so much of themselves and identity, I think that's something that is so interesting to tug on and play with as an artist. You know, people walk up and tell me what the work is and what it means and what it's about or telling about the neighbourhoods that they're. So I think that stuff is always really surprising and kind of incredible as well. You know, sometimes the images are really, you know, grading and harsh and quite aggressive images and so I think we need those communities to want to stay. That's really satisfying as well to sort of, for those moments, be a part of those communities as well and be invited in there. A lot of the communities I'm invited in to make the work and so if something like Christ's Church it was a really positive reaction but it also worked really hard to be responsive to those communities and make sure that the work's sensitive to them. There's something about seeing a house without its wall on that suddenly outside becomes inside and there's something really confronting about that, that sort of the safety is immediately subverted. What was key in that work is, and I'd worked with light outside of the camera before but I wanted to work with light, you know, in shot, in frame and that was a collaboration with an incredible cinematographer, Alan Bollinger and, you know, working with him, I think there's a way of creating some negative space, cuts in the houses and then filling that negative space with light as a kind of the lease and catharsis. I think working in those areas was really about sensing what that community was ready for. There are so many moving parts of the project, I think it's taking the photos at Dawn and Dusk and then this sort of editing process in the studio where it's capturing what was there and then trying to tell larger stories with that work. We're bringing more of sculptural work and paintings and drawings and reconstructed pieces of houses and that I found really fascinating is collecting raw material from real life and being interpretive with it and not having to necessarily work as a journalist but work as an artist in those spaces and trying to create larger poetic truths with these real life elements as well which I think is, is something that's usually satisfying. For me, it started as a really personal investigation trying to work out where I belong as someone in their 20s trying to figure out where they belong in the world. To now really, I think I'm the least interesting thing about the work. I think the interesting thing for me is there's a community in there and I love people's relationships to home.