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.

Ideas rather than methods are central to they way I work, although drawing plays a central generative role in everything I do.

I tend to work towards specific exhibitions, so there will often be a big push towards the end when we're finishing off a bunch of stuff.

The silicone we use is the hardest, most UV stable we can get, and we have done enormous amounts of testing and research to get a paint solution that is extremely hardy and repairable.

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

Melbourne is a fantastic place to work, but it's not the centre of the world.

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.