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

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.

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.

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

Skywhale is ambiguous. I think she is beautiful, but a lot of people think she is grotesque. You are drawn in and repelled at the same time, and it has to have that dynamic. My work has a certain element of abject mutation, uncertainty and darkness. Even she is dark - I mean she has ten breasts.

We did have one work where it looked like the fibreglass was discolouring, but it turned out it was reacting to the foam it was packed against in storage. We repaired it and sent it back with better packing.

Most of the work I make uses materials that are a bit outside of the traditional fine art world.