It's interesting to work with what's important today, which is meaningful for our everyday lives.

I put a lot of time and thought into my work, which I see as a sort of respect for both the work and the audience, and I have always been very concerned that the materiality of the work reflects that.

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 am particularly interested in the way that the everyday realities of the world around us change these relations.

I have a database of all my works that I maintain to keep track of works and editions.

I don't think 'Dark Heart' has to be malevolent. It conveys a sense of depth. There is a sense of questioning turmoil.

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.