I pretty much keep everything; we have drawers full of samples and tests and every old catalogue and magazine.

We always use plywood rather than MDF for structural stuff for the same reasons [stability].

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

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.

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

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.

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