Karla Black often asks herself what she would make if there were no other people in the world. In all likelihood, she imagines, she would become obsessed with beauty, producing colourful, tactile and aesthetically indulgent creations, but the chances are that, as art, these objects wouldn’t be very interesting. She is also aware that, making art in a crowded world, she risks running too far in the opposite direction – of becoming over-conscious of others, even deferential in her acknowledgment of precedents and peers, of histories, trends and expectations. Black knows that in order for her art to engage with its audience it must engage in a tussle between action and reaction, between making things for oneself and making for the benefit of others. She has even gone so far as to say that ultimately her art, perhaps all art, is actually just a series of compromises.