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

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.

If you're in the culture business, you're not so locked in to your class, or you can have fun with it.

I'm concerned with not ever being fashionable.

It is true that there are not many smiling faces in modern art galleries. Happy art is much harder to make. Art and humour are uneasy bedfellows. Artists need strong feelings to motivate them to make things. I am often fuelled by anger.

Originality is for people with short memories