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

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.

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.

I tend to work towards specific exhibitions, so there will often be a big push towards the end when we're finishing off a bunch of stuff.

I don't want the ideas to be limited by what I can physically do. The ideas come first.

I don't think 'Dark Heart' has to be malevolent. It conveys a sense of depth. There is a sense of questioning turmoil.

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.