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

We always use plywood rather than MDF for structural stuff for the same reasons [stability].

For one work we developed a human hair felt, which involved collecting and sorting hundreds of kilos of human hair, and then blending it will a tiny percentage of black merino followed by carding and felting.

I don't connect accessibility with lowest common denominator.

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.

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.