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 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 feel quite comfortable and happy with making a work that looks like it could have been made by somebody else.

I guess I must just be obsessed with death. Apparently you think about it a lot more as you get older. Maybe you could chart how when I was in my 20s I talked about sex all the time, and in my 40s it's just death.

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.

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.