The thing that obsesses me more than anything is waste - the waste of human intelligence and creativity.

When I was at art college, the teachers who helped me were not the ones I agreed with, or the ones who encouraged me, but the ones who took very strong positions. Because if someone does that, you can find your own position in relation to it: what is it that I don't agree with? In the studio I want to articulate a position clearly enough so that other people can use it - or chuck it away if they don't want it.

Genius is individual, scenius is communal.

In the 19th century, a lot of people were against outlawing child labour, because to do so would be against the very foundations of a free market economy: 'These children want to work, these people want to employ them... what is your problem? It's not as if anyone has kidnapped them...'

The most important thing in a piece of music is to seduce people to the point where they start searching.

I would like to see a future where artists think that they have a right to contemplate things like global warming.

I want to rethink surrender as an active verb.