On his WEB site, Stenhouse writes, "Working in a Glasgow Architect's Practice made architectural modernism my initial visual language, however I became disillusioned by the architectural profession and subsequently concentrated on fine art, eventually graduating in drawing and painting. What I saw as the passivity of painting (particularly illusionist painting) led me to explore the tangibility of painting, this developed into structuralist work and eventually into 3-dimensions. I began making sculpture which was 3-dimensional colour compositions, these moved into the concept of sculpture as non-functional architecture. At this time most of my work was concept driven and formalist, however some work was produced which had autobiographical and sociological references. Part of the fascination for me in producing the Colour Maquette series was that despite the formal driven compositions, they took onto themselves a great variety of humanistic aspects. While continuing the Colour Maquette series, parallel works dealing with landscape and musical compositional structures were developing. In 1979 I began collaborating with conceptual artist Pete Horobin, which lasted for about 6 years. This proved to be fruitful as the collaborative projects encouraged me to work in various media other than painting and sculpture, such as handmade books, sound and video; the soundwork was later to become central to my art practice. I left Scotland in 1987 the day the Thatcher Government was re-elected, only to find myself in the USA in the midst of "Reganomics"(doh!). After living in New York for some time I returned to Scotland and found my work becoming more socio-politically driven; dealing with the richness of individual cultures and fighting against the homogenisation of cultural imperialism. While my Telephone Directory drawings continued to develop from a textual/structural outline for musical compositions into a more conscious composition that included significant cultural reference and defined sound compositions, my soundworks were beginning to gain significance for me. After working with analogue sound collages, I found that I required more specific control over the sound, this led me to start using digital technologies, which in turn has led me to work extensively in digital multimedia and in particular interactive multimedia interaction and feedback being of particular interest." -- Source of annotation: Marvin or Ruth Sackner.