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.

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.

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.

I work with whatever mediums seems best suited to evoking the sorts of thoughts and emotions I am interested in playing with.

If you don't know the person personally, then don't take it personally.

Capitalism has become systemically risky when a single financial algorithm like the one that David X. Li created brought the entire global economic system close to collapse in 2008.

I think everything that I learned about stagecraft and carrying through - creating a through point for a theatrical device.

Not being re-signed in Baltimore was probably the lowest point, mentally, of my career. That city was the only place where I wanted to be at the time, based on everything that had transpired.

Art does not imitate, but interpret.

And I'd watch George C. Scott from backstage. He was one of my mentors.

Don't worry about something going away; enjoy it while it's happening. And don't worry about something that's not even real.

I'm excited that I get to do what I love, and I'm benefiting through projects that speak to me.

That's always been Guillermo's preference, is to have as much there practically as is humanly possible, and that digital graphic images are more a punctuation mark than they are a replacement.

O, how shall summer's honey breath hold out Against the wreckful siege of battering days, When rocks impregnable are not so stout, Nor gates of steel so strong, but Time decays?