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.

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

Materials are very important to me, and always have been.

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.

My practice is focused on bodies and relationships; the relationships between people and other creatures, between people and our bodies, between creatures and the environment, between the artificial and the natural.

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 have been interested in visual arts since high school and, after realising that I had absolutely no interest in the economics degree I had undertaken at ANU, I started a BFA in Sydney which I completed at VCA in Melbourne.