Taste is a phenomenon. Most of taste is unconscious - it comes from your upbringing, from your family, from your society, your gender, your race; it's a melange of all those things.

To appreciate art you’ve got to work at it a bit.

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.

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.

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.