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.

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 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.

Obviously, I don't make an entire edition all at once, so the studio often goes back to produce editions, but that's a bit different. I guess I'm always thinking about the next work.

If there are moments in my work when people find joy and humour, that's a real success for me.

In the studio we use a pretty wide range of materials for the sculptures; silicone, fibreglass, human and animal hair, ABS plastic, dental acrylic, traditional and high-tech plasters, stainless steel, automotive paint, plywood, Britannia metal, found objects and taxidermy animals.

I work with whatever mediums seems best suited to evoking the sorts of thoughts and emotions I am interested in playing with.