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

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

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 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.

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

My Father is a photographer, so it was always around. I was trained in painting, so I learnt a lot of skills about composition, light, colour, the formal attributes of images.

A child came up to me and asked 'am I dreaming?' I had a similar experience coming to the Art Gallery of South Australia when I was a child. My mum had done a workshop here and it stayed with me. It's an important formative time.