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.

I pretty much keep everything; we have drawers full of samples and tests and every old catalogue and magazine.

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

I think people perceive my creatures as absurd because they look different, but at the same time, they are a little bit familiar. I want people to feel a kind of empathy with them. When you think about it, all nature is kind of strange looking.. in fact, I'm a strange a looking creature.

Most of the work I make uses materials that are a bit outside of the traditional fine art world.

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.

The studio does a lot of testing before we settle on a system. Unfortunately, this means that price tends to come pretty far down the list.