A lot of people who work in computers think that the world is like them.

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.

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.

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

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 always say to people if you want to see what Britain looks like, watch Gogglebox. It's brilliant and funny and warm and clever.