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

I started thinking of digital imaging, not photography, in 1994 as it seemed the most appropriate way to deal with ideas of biotechnology and advertising. My practice is conceptual.

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.

I pretty much keep everything; we have drawers full of samples and tests and every old catalogue and magazine.

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.

I have a database of all my works that I maintain to keep track of works and editions.