Mini Living Machine (2011) is a body of artwork that brings to life feelings that are dichotomies of mind: the body continues to be played out through relationships with the material world and technology. I have long had an affection for Minis and, more generally, an interest in cars. I played with Matchbox cars with my brothers and enjoyed a space that didn’t seem to be gender-bound. Later, I noticed Minis on the streets; they seemed to embody compact, zippy technology democratically available as a small family car. At the same time, the design was unique compared with other vehicles on the road. I can now also see connections with Apple Mac computers: a distinctive look, compressed technology, mass produced, and a social identity, amongst other attributes. I remember looking at library books on Mini factory production and car races, noticing work overalls as the standard attire. I recall noting how overalls were also worn by people who worked in labouring jobs (in Africa and Australia). My father used to don overalls to fix our cars, and I would hang about, fascinated by the internal life of the machine (Figs. 7.1, 7.2, 7.3 and 7.4).