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 finished VCA at the height of the last big recession in the early 90s, and seeing that I was not going to be able to join one of the dwindling number of commercial galleries, I started an ARI called the Basement Project which ran for three years. Things came a little at a time and all of a sudden it's 20 years later and I'm still making art, which is really all I ever wanted to do.

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 always use resin instead of polyurethane, even though it takes more work and is in places where it can't be seen, because resin tends to be more UV stable than urethane.

I think people perceive my creatures as absurd because they look different, but at the same time, they are a little bit familiar. I want people to feel a kind of empathy with them. When you think about it, all nature is kind of strange looking.. in fact, I'm a strange a looking creature.

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

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.