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

Artists make worlds for people to walk through.

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 did have one work where it looked like the fibreglass was discolouring, but it turned out it was reacting to the foam it was packed against in storage. We repaired it and sent it back with better packing.

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.

If there are moments in my work when people find joy and humour, that's a real success for me.

The illusion of life is crucial for the work, otherwise the ideas wouldn't be able to jump across, people wouldn't engage with it.