The exploration of Chance and Process is core to my artistic practice.  Akin to scientific experimentation and investigation, the results of my projects [although operating within carefully developed controls and parameters] are unpredictable and outside my control.  It is the wind, postmen, the motion of a vehicle, or players of a game that unwittingly determine the outcome.  These drawings produced by the wind or in a vehicle, have a very unique and un-human quality and aesthetic.  The viewer may try to decipher these varying marks, lines and patterns, in order to make certain conclusions, eg. the best courier, the weather conditions or the type of sport played.

“The pen moves across the earth: it no longer knows what will happen, and the hand that holds it has disappeared.”   
  
                White Nights, by Paul Auster

It is crucial that the viewer understands the process of production, so the work is frequently presented in an installation form, using drawings, videos, photography and the various apparatus shown together as a package in order to communicate what generates the work and the method used to produce it.

The work attempts to make visible the invisible, be it the movement of the wind traced out onto paper by a pen suspended from a buoyant helium balloon, the path drawn by the moons reflection on undulating water or the forces at work within a car as it drives over the Alps. As with the work of Roman Signer, an action, movement, or event produces the art work.

There is a time based element to all of the work, whether it be the Balloon Drawings up to 20 meters long representing the changing weather over a 24-hour period, the use of video to show the route of a vehicle, or Postal Projects that spend days travelling through the post.

“...What remains is a history of the movements of the parcel and its contents - here a constellation of the jars and jolts of the journey.  This is a history without historical clarity: cause and effect gives rise to illustration without reference.  The marks on the paper ‘describe’ the journey, but in their description time has been flattened.  The event is rendered as a single moment, the drawing existing as something between seismographic readings and the gestural paintings of Jackson Pollock.” 

                Extract from text by Gavin Morrison,  Sculpture Matters, issue 13.  2001

Playfulness, curiosity and inventiveness are all at work, sometimes alongside farcical elements: for the 24-hour Balloon Drawings an elaborate apparatus with motors and pulleys is taken out into the landscape simply to allow a pen attached to a balloon to draw onto a roll of paper - much like the early landscape photographer who, along with all his bulky photographic paraphanalia, would venture out into the countryside to record a view or event.  Similarly for the Weeping Willow Tree Drawing 100 pens are tied to the tips of the branches of a weeping willow tree, as the tree sways in the wind the pens draw onto a segmented circular panel 5 meter in diameter.