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 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.

Artists make worlds for people to walk through.

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

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.

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.

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.