Obviously, I don't make an entire edition all at once, so the studio often goes back to produce editions, but that's a bit different. I guess I'm always thinking about the next work.

A child came up to me and asked 'am I dreaming?' I had a similar experience coming to the Art Gallery of South Australia when I was a child. My mum had done a workshop here and it stayed with me. It's an important formative time.

I tend to work towards specific exhibitions, so there will often be a big push towards the end when we're finishing off a bunch of stuff.

In the studio we use a pretty wide range of materials for the sculptures; silicone, fibreglass, human and animal hair, ABS plastic, dental acrylic, traditional and high-tech plasters, stainless steel, automotive paint, plywood, Britannia metal, found objects and taxidermy animals.

The way we look at nineteenth-century English social realism and appreciate the working classes of the emerging industrial revolution.

As we get older, our world gets smaller and we start to doubt and question. We are really suspicious of difference.

Artists make worlds for people to walk through.