The way we look at nineteenth-century English social realism and appreciate the working classes of the emerging industrial revolution.

In the studio we spend a lot of time working our what materials will work best and also last. We do tests and come back to them years later to see how they are still performing, and this leads our decisions.

We tend to be talking to fabricators in the film and special effects or automotive customisation worlds. That having been said, I'm sure as more and more artists come to use these sorts of media, the expertise amongst conservators is going to keep pace with that.

In one hundred years time people will look back and think 'these people were really worried about the environment, they were looking at things to do with global warming, and this is why they were making work about these issues'.

The idea that we can have a new life form, what does it say about the zoo's main purpose, which is to preserve life? What does it say when the artificial and real animal can have the same attraction to people?

For one work we developed a human hair felt, which involved collecting and sorting hundreds of kilos of human hair, and then blending it will a tiny percentage of black merino followed by carding and felting.

Ideas rather than methods are central to they way I work, although drawing plays a central generative role in everything I do.