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.

Perhaps because of this, many have looked at my practice in terms of science and technology, however, for me it is just as informed by Surrealism and mythology.

I struggle in life to find a sense of joy in things.

We always use resin instead of polyurethane, even though it takes more work and is in places where it can't be seen, because resin tends to be more UV stable than urethane.

I don't think 'Dark Heart' has to be malevolent. It conveys a sense of depth. There is a sense of questioning turmoil.

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 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.