I certainly don't see the humour in my work as something that detracts from its seriousness. It's just a way of making difficult messages more palatable.

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.

It's interesting to work with what's important today, which is meaningful for our everyday lives.

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

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

I have been interested in visual arts since high school and, after realising that I had absolutely no interest in the economics degree I had undertaken at ANU, I started a BFA in Sydney which I completed at VCA in Melbourne.