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 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 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.

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 people are quite surprised that the handwriting I use in my drawings and paintings is my own handwriting. They're slightly shocked when I write them a letter.

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.

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.