"I love how images immerse you in their world — getting lost as you wander around, making meaning and feeling. It happens with good books, films, plays, games. I'm drawn to maximalist visuals: busy, layered, confusing, coherent — all of it. They reflect the overstimulating chaos and distractedness of the internet age."

"I love the mental overload and stimulus of building on an initial brief. I start from a very expansive viewpoint and then narrow that down. It's not a particularly linear workflow. There's always an interdependence in creative endeavours, so I work well collaboratively. My favourite thing is to have exploratory conversations with creatives to build on a concept. These open chats can go anywhere, and there is space for wrong thinking. That one sentence, which might be a terrible idea, could trigger something in someone else that brings a new perspective."

"I'm drawn to art's problematic concepts and failures. Symmetrical portraits offer little insight into beauty; if it does, it's somewhat misleading, like phrenology. Yet it is equal truth that, on the surface, symmetrical people are considered more attractive. Much of my work sits on a knife's edge of two opposing ideas — fact and fiction, chaos and order. I'm interested in an object's state and how this is perceived visually and materially."