For one work we developed a human hair felt, which involved collecting and sorting hundreds of kilos of human hair, and then blending it will a tiny percentage of black merino followed by carding and felting.

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'.

The studio keeps notes on the details of editions and production processes and the like.

We tend to be talking to fabricators in the film and special effects or automotive customisation worlds. That having been said, I'm sure as more and more artists come to use these sorts of media, the expertise amongst conservators is going to keep pace with that.

The silicone we use is the hardest, most UV stable we can get, and we have done enormous amounts of testing and research to get a paint solution that is extremely hardy and repairable.

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.

Thinking is a social process. I talk to everyone from children to anthropologists and philosophers. I try my ideas out on people and they talk back to you. That's how ideas get formed.