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.

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.

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.

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

The basic premise of taste, as Stephen Bayley, the cultural critic, said, is that taste is that which does not alienate your peers. Most people want to fit in with their tribe in some way or another, so they give off signals, whether it's with their clothes, their behavior, their car, their whatever, and gain status. Every tribe has a hierarchy, and that's what taste is: it's an unconscious display of who you are, and where you want to be.

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.