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.

Now that other people have my works, it's really important to me that what they have has longevity.

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.

I struggle in life to find a sense of joy in things.

I finished VCA at the height of the last big recession in the early 90s, and seeing that I was not going to be able to join one of the dwindling number of commercial galleries, I started an ARI called the Basement Project which ran for three years. Things came a little at a time and all of a sudden it's 20 years later and I'm still making art, which is really all I ever wanted to do.

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.

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