In the studio we spend a lot of time working our what materials will work best and also last. We do tests and come back to them years later to see how they are still performing, and this leads our decisions.

I would say my work is anti-ironic.

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'.

Of course, all my work is photographed and I also take quite a lot of photographs of work in production.

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.

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.

My Father is a photographer, so it was always around. I was trained in painting, so I learnt a lot of skills about composition, light, colour, the formal attributes of images.