I think the sound is something really important, in such that the sound is a performative thing for me. There was something really important about the ancient aspect of the machines, and how right now as artists work in a very digital algorithmic way, my work is a very obvious u-turn from that. I am not interested in those processes as I don’t find them open and present enough, they’re too hidden and I don’t like work that is closed. I think as an artist, you need to bring people with you, with your work. I therefore like the old school aspect of the machine, of the cogs turning. You see the machine, and there is no hierarchy between the work and you. There are deeper levels where the work can take you, but again it may be that some people like the sound of it, and there are different elements and stages. Some people are more interested in the sound of the machine and the colours, whilst others just find the machine really striking, almost a piece of sculpture. The machines are kind of musical instruments, and I was very aware that the sound had to be as important as the visual aspect as well, but then again to not be solely seen as sound works, but for that to be all encompassing. I like how the Shredder is very guzzling and visceral, not something hidden or closed, meaning the viewer is aware of the actions as they happen, a live performance.