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.

I certainly don't see the humour in my work as something that detracts from its seriousness. It's just a way of making difficult messages more palatable.

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

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

Quality and longevity are the primary criteria, along with repairability and ease of production.

I finished VCA at the height of the last big recession in the early 90s, and seeing that I was not going to be able to join one of the dwindling number of commercial galleries, I started an ARI called the Basement Project which ran for three years. Things came a little at a time and all of a sudden it's 20 years later and I'm still making art, which is really all I ever wanted to do.