Everything we look at and choose is some way of expressing how we want to be perceived.

My father worked for a children's home called Dr. Barnardo's Homes. They're a charity.

You should turn around at the end of the day and say I really like that piece of work, or that piece of work sucked. Not, was that popular or wasn't it popular?

I'm always amazed that people take what I say seriously. I don't even take what I am seriously.

Actually, my ambition at eight or nine years old was to be one of Little Richard's sax players, and that's when I got my first saxophone, a Selmer. It was a strange Bakelite material - that creamy plastic with all the gold keys on it. I had to get a job as a butcher's delivery boy to start paying for it.

It's almost a social grace to get into the art world, and I'm very wary of it. Art was good in Berlin in the late '70s - there was a lot more guts to art when the Neo-Expressionists were starting up; it was real slapdash; it has real heart to it - but it seems so cold and heartless in America. It's a buyer's market.

I guess Ziggy would have been the perfect vehicle to have done with.