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.

It's interesting to work with what's important today, which is meaningful for our everyday lives.

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.

In the studio we spend a lot of time working our what materials will work best and also last. We do tests and come back to them years later to see how they are still performing, and this leads our decisions.

In one hundred years time people will look back and think 'these people were really worried about the environment, they were looking at things to do with global warming, and this is why they were making work about these issues'.

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.

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.