I would say my work is anti-ironic.

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.

My practice is focused on bodies and relationships; the relationships between people and other creatures, between people and our bodies, between creatures and the environment, between the artificial and the natural.

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.

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.

We did have one work where it looked like the fibreglass was discolouring, but it turned out it was reacting to the foam it was packed against in storage. We repaired it and sent it back with better packing.

I usually have several things on the go. Whether it is my own drawings for the next work that I am working on while a sculpture is being fabricated or several works at different points in production.