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 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.

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

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

Artists make worlds for people to walk through.

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

The illusion of life is crucial for the work, otherwise the ideas wouldn't be able to jump across, people wouldn't engage with it.