Another point to my FMP will be the idea of both perceived control and lack of. Whether this be on the viewer's behalf or my own, I would like to continue experimenting with being fully out of control with materials and objects which allow me to work around restrictions, potentially creating a more interesting piece. As well as creating possible discomfort in the viewer and putting them in an awkward vulnerable position, whether this be through precariously hung objects, or the general displaying of my work. 

Another possible aspect to my SMP, I am considering incorporating is the idea of processes taken outside the studio space, as I find my work to be quite studio based. I would like to branch off in the more nomadic sense for the process aspect of my work, which I think could be fascinating.

One artist that has had heavy in front of my work is John Wooden Paul Harrison, for this reason, I will continue to use their work to inspire me through not just the meanings and materials but type of imagery and possibly the way this can be presented to the viewer. This is something I have to think about more going into my FMP as I plan on creating some more time based pieces and incorporating listen to my work. Although I want to come up with interesting ways to present this video or piece of work to the viewer. along John Wood and Paul Harrison I am looking into artist, Daniel Eatock who is known to incorporate found objects in his work in a similar deadpan way to John Wooden, Paul Harrison is videography. 

Doris Salcedo as an artist, I jumped four and thinking of possibly creating a larger piece with repeating found objects. Salcedo is known to create a large-scale works using found object which also incorporated with concrete and plaster weather it be filling the negative space of an object or adding around it . Another artist I am thinking of incorporating into my FMP, is Richard Sarah and his large-scale metalwork. Although I have created an artwork with Sarahs video "hand catching lead "in mind, making and catching rice, I would like to think more about the main aspects of his work, being the large scale pieces, making the audience traverse than weird ways.