There's a magic that comes from playing entirely to who you are. I've got my specialist subject - in the Mastermind sense - and I wouldn't change it, or who I am.

When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.

Sometimes, as I feel a door or an exit point in my work is closing, I'll try to create an opening so as not to stifle the creative process, which I see as a process that's never-ending.

There's a magic that comes from playing entirely to who you are. I've got my specialist subject - in the Mastermind sense - and I wouldn't change it, or who I am.

When I left the Royal College, I decided I would only make paintings that I would want to look at myself, that felt close to my life.

I was listening to a lot of hip hop, music like Public Enemy that was about raising consciousness, and I realised I could feed that directly into my work, using images in a way that was a bit like sampling - taking images from diverse places, exploring the contradictions without trying to hide the seams.

The studio is a laboratory, not a factory. An exhibition is the result of your experiments, but the process is never-ending. So an exhibition is not a conclusion.