RG: When we were in Manchester and Maastricht you were sickeningly prolific, to the point where people felt guilty about the amount of work they were capable ofâ¦ I also remember you gave yourself an ulcer. It seems now that you work on demand, rather than driven by obsession, I am thinking about the idea that one artist's practice differs aggressively to the next. Can you tell me how you work now?
BC: Guilty? Which people? Not quite an ulcer, but ok. No, now it's just the same, I don't really work on demand. I tend to develop larger scale work for specific events or exhibitions, and besides this I continue to do things (paintings, posters, written work, sound etc.) that don't require a particular space. They sit on the sidelines until I find a way to show themâ¦ I'm just as busy, there is still perpetual practicing, but hopefully now there's more filtering and focus? Perhaps now I don't have to try everything. In earlier stages there is a need to make all sorts because you are thinking through doing. Things have to be tested and realised, you don't have the experience of knowing how things will turn out. Now it's easier to predict how things will work, and therefore easier to abandon ideas around the time that they are conceived.
(From an interview between Ben Cain, Ryan Gander & Rebecca May Marston)