I don't connect accessibility with lowest common denominator.

Skywhale is ambiguous. I think she is beautiful, but a lot of people think she is grotesque. You are drawn in and repelled at the same time, and it has to have that dynamic. My work has a certain element of abject mutation, uncertainty and darkness. Even she is dark - I mean she has ten breasts.

We always use resin instead of polyurethane, even though it takes more work and is in places where it can't be seen, because resin tends to be more UV stable than urethane.

Most of the work I make uses materials that are a bit outside of the traditional fine art world.

I pretty much keep everything; we have drawers full of samples and tests and every old catalogue and magazine.

I put a lot of time and thought into my work, which I see as a sort of respect for both the work and the audience, and I have always been very concerned that the materiality of the work reflects that.

A child came up to me and asked 'am I dreaming?' I had a similar experience coming to the Art Gallery of South Australia when I was a child. My mum had done a workshop here and it stayed with me. It's an important formative time.