Materials are very important to me, and always have been.

How does contemporary technology and culture changes our understanding of what it means to be human. What is our relationship with - and responsibilities towards - that which we create.

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

The illusion of life is crucial for the work, otherwise the ideas wouldn't be able to jump across, people wouldn't engage with it.

Perhaps because of this, many have looked at my practice in terms of science and technology, however, for me it is just as informed by Surrealism and mythology.

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

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.

I feel that there's hardly any irony in my work; if there's anything, there'll be sincerity, which people sometimes find hard to deal with.

Ideas rather than methods are central to they way I work, although drawing plays a central generative role in everything I do.

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

I usually have several things on the go. Whether it is my own drawings for the next work that I am working on while a sculpture is being fabricated or several works at different points in production.

Not every given chance deserves love, but every love deserves a given chance.

You cannot make a modern apartment out of a traditional space.

But the moment our eyes meet, I'm right back under his spell, a helpless hunk of steel to his irresistible magnet.

The art of revolutionizing and overturning states is to undermine established customs, by going back to their origin, in order to mark their want of justice.

I'm in a big dilemma about my Big-Leg Emma.

Stripped of ethical rationalizations and philosophical pretensions, a crime is anything that a group in power chooses to prohibit.

I see only adaptations - not revolutions.

Inertia is so easy—don't fix what's not broken. Leave well enough alone. So we end up accepting what is broken, mistaking complaining for action, procrastinating for deliberation.

I'll always be the ginger one from Harry Potter.

I like to hear what other people's interpretations are, because people come up with things I'd never thought about.