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

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.

I put a lot of time and thought into my work, which I see as a sort of respect for both the work and the audience, and I have always been very concerned that the materiality of the work reflects that.

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.

If there are moments in my work when people find joy and humour, that's a real success for me.

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

We always use plywood rather than MDF for structural stuff for the same reasons [stability].