I don't want the ideas to be limited by what I can physically do. The ideas come first.

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.

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

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

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.

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.

The studio keeps notes on the details of editions and production processes and the like.