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

It's much easier to do something that's seen as being serious because people accept it right away, they don't question what you do, they just accept, because they think you must be right.

The silicone we use is the hardest, most UV stable we can get, and we have done enormous amounts of testing and research to get a paint solution that is extremely hardy and repairable.

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.

My practice is focused on bodies and relationships; the relationships between people and other creatures, between people and our bodies, between creatures and the environment, between the artificial and the natural.

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.

Thinking is a social process. I talk to everyone from children to anthropologists and philosophers. I try my ideas out on people and they talk back to you. That's how ideas get formed.