Goddard explores multiple/changing personalities as a result of human devolution. He is particularly interested in highlighting the infinitely peculiar and poignant facets of the individual personality, observed through familiar scenes of modernity. He does this through the creation of a cast of characters in varying dimensions to represent one self in order to reveal man's psychological complexity as well as his relentless desire for repetition and habit.

Oben's performances developed from her interest in the unfixity of identity and the social being's potential for mutability, to be other.  The chav was one of a series of enacted characters that formed part of her investigations into the notion of identity as social construction and performance. However the chav lived on beyond the original series to seemingly develop a life of her own with fictional partner and social life. 

Some of the most interesting aspects of the work are the participatory nature of those who react and interact with the chavs. The notion of antagonistic art as theorised by Claire Bishop's critique of Nicolas Bourriaud'sRelational Aesthetics(1998) has begun to inform understanding of audience participation and their annoyed and/or suspicious reactions to the chavs. The presence of such individuals in the art gallery antagonises the viewer until the ruse is realised and the negativity directed at the chavs dissipates into mirth. This process suggests the work is an unethical mimicry of a recognisable, feared and ridiculed stereotype in contemporary society. However the work has the potential to change commonly held beliefs about those from other sectors of society and viewers of the work may in future hesitate before lapsing into assumption-laden reactions. To positively affect an audience, to enable it to re-adjust their acceptance and reiteration of commonly held social beliefs validates the unethical nature of the work and creates a micro-revolution; a positive outcome even if only for one amongst a multitude.