I put a lot of time and thought into my work, which I see as a sort of respect for both the work and the audience, and I have always been very concerned that the materiality of the work reflects that.

If there are moments in my work when people find joy and humour, that's a real success for me.

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 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.

The studio keeps notes on the details of editions and production processes and the like.

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.

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.