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

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 guess I just always want to surprise myself and say something that I'm not really quite sure where it came from, and it sort of makes sense and has a kind of profundity to it. Sometimes it happens, sometimes it doesn't.

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 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.

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 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.