The camera is an eye that sees and records the lives of filthy people. Its pictures are hung in museums and published in thick books that future generations can see how horrible life was.

I never sat down and decided to make work about life and death. It just all comes out of my head like water pouring out of a jug.

If the work jells a little bit in terms of being placed in the oeuvre, I don't care - as long as it works.

I think circumstance plays a big part in terms of what I do. For example, if I wasn't ever able to show in an art gallery I probably wouldn't really make very much sculpture. But I've had the opportunity to show in big spaces, so I want to fill up that space in the same way you might want to fill up a page.

I'm definitely not an outsider artist. I'm very much an insider artist. I get written about in art magazines, and I'm not, like, in a mental institution. I'm a regular guy who went to art school.

I think the thing is there's a work for every space, you always have to respond to a context, whether it be a physical context, or a political one, or a cultural one, whatever.

Sometimes commercial galleries ask for particular work to sell, but I try not to be bossed around by them. I didn't become an artist to get bossed around.