I'm totally independent. I don't bear any responsibility to any system.

The Internet changes the structure of society all the time — this massiveness made of individuals.

Even though everybody who looked at me would call me a Chinese artist, that's the 1980s. New York in the '80s was not so interesting. I think it's quite narrow-minded. There wasn't much encouragement or opportunities for any artist - not just Chinese artists.

I don't think my father had a direct influence on me, but I do think, more or less, I was influenced by his independent individualism. And the kind of condition he had when he was in this society - the kind of mistreatment society gave him.

Widespread state control over art and culture has left no room for freedom of expression in the country. For more than 60 years, anyone with a dissenting opinion has been suppressed. Chinese art is merely a product: it avoids any meaningful engagement. There is no larger context. Its only purpose is to charm viewers with its ambiguity.

You're still being looked at as somebody who - it's a very complicated issue.

I think optimism is whether you are still exhilarated by life, whether you are curious, whether you still believe there is possibility.