I struggle in life to find a sense of joy in things.

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.

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

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.

My Father is a photographer, so it was always around. I was trained in painting, so I learnt a lot of skills about composition, light, colour, the formal attributes of images.

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.

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.