John Wood and Paul Harrison's collaborative practice meets at a point between the formal simplicity of FLUXUS and a post-modern playfulness that allows them to amuse and intrigue an audience with their mastery of props, bodily movement and the studio space itself. I feel there can be comparisons made with the work of Bas Jan Ader - like the Dutch conceptualist, Wood and Harrison impart a sense of human vulnerability within the purist ideals and occasional slapstick execution of their works. For example, in Crossover (I Miss You), the artists explore their relationship with one another by means of a wooden table between them, and in Breathe, the action of a single exhaling of breath provokes questions of a fundamental nature - again, the theme of vulnerability seems to be raised here. Although Wood and Harrison take interest in the clinical environment of the white cube studio and my work is often set in the context of public space, there are significant comparisons between practices. Firstly the desire to bring an emotive quality into the domain of conceptual performance art - in some ways my piece Relativity (Trying Not to Cry) addresses similar issues of human fragility as Breathe does - very much relating to the viewer on an emotional and physical level. There are parallels to between the pair's 3 Legged and my own ORGY - although differing in subject matter and materials, both address ideas of human vulnerability and violence in the way that objects are thrown at the defenceless artist. There is also a shared sense of aesthetic in the monotony of repetitive movement and the construction of a journey - seen for example in both Circular Walk (in which once of the artists films his feet repeatedly traversing a circular black line on the floor) and Kicking a Cheesestring Through a Tunnel. Furthermore, there a few elements of Harrison and Woods practice which I feel could play a role in my own: the use of performance and video art as components within a larger installation - such as in Pavement, the use of preliminary drawings and plans, perhaps even presented as pieces in themselves alongside the performance/video work and finally the possibility of a return to the studio environment and the way in which the artist can subvert and play on the qualities of such a space.