I'm never really that worried about doing something a little different, 'cause it always just seems to fit into what I want to do.

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.

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.

The work, I suppose, is made in the editing, whereby I make literally hundreds of drawings, and then a much smaller percentage of those become the finished work.

I like comedy but I guess I don't think [my art] is that funny, either. It's too dark and a bit weird in places to be genuinely, uniformly hilarious and function as comedy.

I don't want to just spend my life ridiculing something that I find ridiculous, although there is an element of satire in my work.

Making drawings with text in the first place, it really was born of a desire to be economic, and to do things as simply as possible, and to do as much as I could by the most economic means.