Art has to maintain as large a space for interpretation as possible, and to protect itself from being too narrow.

One of my assistants was on Instagram and showed me how it was working. I thought it was playful, the way you go through images, a little like cinema. It's a bit like a filmstrip that's animated by your finger.

I like to make sculpture because it makes my life social. When I make drawings, I work alone. When I work with sculpture I have someone I can work with.

The political cartoon, in a way, is one of the highest forms of expression about our times. I don't believe in dramatic statements when it comes to political critique. It doesn't communicate in a way that's subversive enough.

I felt like if I was on Facebook, I would probably spend my days looking at people's profiles, seeing what they do, and feeling bad about not working enough.

A lot of my work deals with this emotion of discouragement or fear, and this emotion cannot be approached without humor because then things become indigestible. You don't want to eat them; you don't want to be in contact with them.

For me, it's really important that the experience of art is always something that is able to provoke strong emotion, an emotion that you feel in your heart or your stomach, but also that challenges the brain at the same time. It's an experience - physical and intellectual.