If you want to be successful in the art world you've got to look to the art world; you don't make it for the bloke next door and then hope the art world is going to look at it. That's one of the big mistakes people make.

Until we can insert a USB into our ear and download our thoughts, drawing remains the best way of getting visual information on to the page. I draw as a collagist, juxtaposing images and styles of mark-making from many sources. The world I draw is the interior landscape of my own personal obsessions and of cultures I have absorbed and adapted, from Latvian folk art to Japanese screens. I lasso thoughts with a pen. I draw a stave church or someone from Hello! magazine not because I want to replicate how they look, but because of the meaning they bring to the work.

I'm concerned with not ever being fashionable.

If you want to be successful in the art world you've got to look to the art world; you don't make it for the bloke next door and then hope the art world is going to look at it. That's one of the big mistakes people make.

Beauty and seriousness are perhaps the most shocking tactics left to artists these days.

I think when we talk of craft we talk of a certain set of processes, whether that be clay of glass if jewelry or textiles, and we look back through history instantly.

Desmond Morris says that men make better artists because they are greater risk-takers; on the other hand, he thinks that women are better organisers and diplomats and more suited to become politicians.