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

I don't set out to make something that is repulsive and that would scare people. I know that some people don't like what I make, and don't find it cute, but that's hard for me to understand.

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.

A child came up to me and asked 'am I dreaming?' I had a similar experience coming to the Art Gallery of South Australia when I was a child. My mum had done a workshop here and it stayed with me. It's an important formative time.

I have had sculptures cast in bronze, silver and aluminium. My drawings are all graphite or pigment ink and gouache on paper.

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.

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.