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

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

We tend to be talking to fabricators in the film and special effects or automotive customisation worlds. That having been said, I'm sure as more and more artists come to use these sorts of media, the expertise amongst conservators is going to keep pace with that.

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

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.

I feel that there's hardly any irony in my work; if there's anything, there'll be sincerity, which people sometimes find hard to deal with.