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.

I have had sculptures cast in bronze, silver and aluminium. My drawings are all graphite or pigment ink and gouache on paper.

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

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'.

I pretty much keep everything; we have drawers full of samples and tests and every old catalogue and magazine.

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.