But part of the enjoyment I take in it is finding the most efficient way to do it, which doesn't mean the corrections aren't made. I like to have a feeling of the whole task before I start, even if it changes.

In the studio, I don't do a lot of work that requires repetitive activity. I spend a lot of time looking and thinking and then try to find the most efficient way to get what I want, whether it's making a drawing or a sculpture, or casting plaster or whatever.

Sometimes I just have a few people over to see the new work, and I think it works better than in a museum situation, where the public is just presented with a large area.

Pete and Repeat were sitting on a wall. Pete fell off. Who was left? Repeat.

And I don't have any specific steps to take because I don't start the same way every time. But there is a knowing when it's enough and you can leave it alone.

I like to combine different aspects in my work, to cover different areas, but I do see them as being separate.

A good teacher is like a good artist. They go right to the most difficult part of whatever's going on.