I don't set out to make something that is repulsive and that would scare people. I know that some people don't like what I make, and don't find it cute, but that's hard for me to understand.

Skywhale is ambiguous. I think she is beautiful, but a lot of people think she is grotesque. You are drawn in and repelled at the same time, and it has to have that dynamic. My work has a certain element of abject mutation, uncertainty and darkness. Even she is dark - I mean she has ten breasts.

In the studio we use a pretty wide range of materials for the sculptures; silicone, fibreglass, human and animal hair, ABS plastic, dental acrylic, traditional and high-tech plasters, stainless steel, automotive paint, plywood, Britannia metal, found objects and taxidermy animals.

Of course, all my work is photographed and I also take quite a lot of photographs of work in production.

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.

I have had sculptures cast in bronze, silver and aluminium. My drawings are all graphite or pigment ink and gouache on paper.

Obviously, I don't make an entire edition all at once, so the studio often goes back to produce editions, but that's a bit different. I guess I'm always thinking about the next work.