Born: I was born in 1981 in Kent but have been living and working in London since about 2005

Studied: I studied for my degree in Nottingham, finishing in 2003, before then completing my MA in sculpture at Wimbledon College of Art in 2008.

Describe your practice using only 4 words: Thoughtful, physical, technological and wooden

Your work humorously explores the dysfunctionality and failure of  the many technological objects that fill our lives - how do you strike  a balance between parody and critique?
I think parody inherently holds a critical element. The kind of comedy  that parody creates opens up a temporary moment of 're-looking' at a  subject and hence critique, without having to be polemical. I am not  interested in dictatorial art but prefer gently pushing or probing the  viewer, something which humour really allows. I find it also helpsin  layering other narratives into a work, perhaps more sinister or 
autobiographical ones, and so I think it's a really underrated,  complex artistic tool.

You describe your interest in the English tradition of the "eccentric inventor who makes his own prototypes in his garden shed" - what prompted your fascination with this idea?
Mainly because I see myself in that method of working. Perhaps not so  eccentric but the studio acts as my garden shed. If an object I own  breaks or fails, I pull it apart to try and fix it in this cliched, stereotypically male kind of way. It's a mock-heroic, part-tragic  performance. Though, with contemporary objects and devices, their  operation is so abstract, minaturised and complex it is the antithesis  of the 'hands on' garden shed producer. I enjoy the struggle between  the two.

You document your research and work in progress on a blog - how  important is this process to you?
It's something relatively new for me, I have always carried a little  book that I scribble notes and drawings in but wanted to see how this may translate through a relatively open communication method like the internet. It forms part of my on-going anxiety battle with technology but I think it's interesting to gather research and ideas together for  people to see, rather than the process of art being somehow 'hidden'. 
The blog might not be entirely cohesive, but it does help me put  together in one place all those things that fascinate or interest me.

You have exhibited extensively over the past few years - what's the  key to getting your work out there and on display?
I often ask myself the same question but the answer is always really illusive. I don't think there is one particular strategy but a  combination of factors. I try to focus instead on just making  interesting work that I am excited about so that I can make the most of any chance to exhibit.

You finished your MA last year and were recently awarded the prestigious Clifford Chance/UAL prize for Sculpture - how useful has this been since?
It was a really interesting experience working with Clifford Chance and with the pieces for the award going on display in their offices in Canary Wharf, it meant I had to really confront that kind of context. I enjoy the challenge of working within different spaces and allowing, rather than resisting, them to influence the work and ideas. It also helped give me the confidence to logistically carry out larger projects, such as the installation I'm working on at the moment for  Schwartz Gallery. Plus, the award did also pay my rent for a few months which was a massive help!

See more of Mark's work in his jotta portfolio

Mark Selby & Kate Terry  opens at Schwartz Gallery on Wednesday 10th February 2010 with artist talks from 2pm on Saturday 20th February.

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