I don't think 'Dark Heart' has to be malevolent. It conveys a sense of depth. There is a sense of questioning turmoil.

I started thinking of digital imaging, not photography, in 1994 as it seemed the most appropriate way to deal with ideas of biotechnology and advertising. My practice is conceptual.

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

The studio does a lot of testing before we settle on a system. Unfortunately, this means that price tends to come pretty far down the list.

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

I am particularly interested in the way that the everyday realities of the world around us change these relations.

In one hundred years time people will look back and think 'these people were really worried about the environment, they were looking at things to do with global warming, and this is why they were making work about these issues'.