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.

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.

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.

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

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

It's much easier to do something that's seen as being serious because people accept it right away, they don't question what you do, they just accept, because they think you must be right.

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.