We did have one work where it looked like the fibreglass was discolouring, but it turned out it was reacting to the foam it was packed against in storage. We repaired it and sent it back with better packing.

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

For me it is a matter of respect for the ideas in the work and the people who look at them. I absolutely hate it when works come back to the studio for repair, and I try to make sure that they never do.

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

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

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.

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