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.

I certainly don't see the humour in my work as something that detracts from its seriousness. It's just a way of making difficult messages more palatable.

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.

Perhaps because of this, many have looked at my practice in terms of science and technology, however, for me it is just as informed by Surrealism and mythology.

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

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'.

Ideas rather than methods are central to they way I work, although drawing plays a central generative role in everything I do.