I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.

All the gossip and craziness becomes a kind of sustained narrative which, in turn, can become history. It's scary.

But I really resist categories – that naming is a closing down of meaning. Women's art, political art – those categorisations perpetuate a certain kind of marginality which I'm resistant to. But I absolutely define myself as a feminist.

Money talks. It starts rumors about careers and complicity and speaks of the tragedies and triumphs of our social lives.

I'm trying to deal with ideas about histories, fame, hearsay, and how public identities are constructed.

I've always thought that it's good to watch the news to find out what everybody else is looking at and believing, if only because that's how consensus is constructed.

I think pictures and words have the power to make us rich or poor.