I use whatever media I think will best express my ideas and therefore I don't have a lot invested in the idea of photography specifically. I am more interested in Art.
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.
My Father is a photographer, so it was always around. I was trained in painting, so I learnt a lot of skills about composition, light, colour, the formal attributes of images.
The idea that we can have a new life form, what does it say about the zoo's main purpose, which is to preserve life? What does it say when the artificial and real animal can have the same attraction to people?
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.
Melbourne is a fantastic place to work, but it's not the centre of the world.
I don't want the ideas to be limited by what I can physically do. The ideas come first.
I would say my work is anti-ironic.
It's interesting to work with what's important today, which is meaningful for our everyday lives.
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.
I don't connect accessibility with lowest common denominator.
It's much easier to do something that's seen as being serious because people accept it right away, they don't question what you do, they just accept, because they think you must be right.
If there are moments in my work when people find joy and humour, that's a real success for me.
I struggle in life to find a sense of joy in things.
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 don't set out to make something that is repulsive and that would scare people. I know that some people don't like what I make, and don't find it cute, but that's hard for me to understand.
Artists make worlds for people to walk through.
Most of the work I make uses materials that are a bit outside of the traditional fine art world.
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 pretty much keep everything; we have drawers full of samples and tests and every old catalogue and magazine.
The studio keeps notes on the details of editions and production processes and the like.
I have a database of all my works that I maintain to keep track of works and editions.
Obviously, I don't make an entire edition all at once, so the studio often goes back to produce editions, but that's a bit different. I guess I'm always thinking about the next work.
Of course, all my work is photographed and I also take quite a lot of photographs of work in production.
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.
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