Art that imposes conditions - human or otherwise - on the receiver for its appreciation in my eyes constitutes aesthetic fascism.

I only work in relation to what the work is about. Yes, of course, if the world's coming to an end I would basically try to get out of the way when the sky falls.

In my work, it's simultaneously realities, instead of parallel. Simultaneous avoids the problem of alternate reality. In parallel reality, there's always a hierarchy, and there doesn't necessarily have to be a hierarchy. When you're in a palace like Blenheim, you're supposed to be in awe - why not be in awe of something different than the stuff they're showing you? It's about finding your own existential place.

Now "professional" seems to be whoever you went to school with. It constitutes your nuclear world. And that's the fault of the teachers; it's not the fault of the young artist.

Once you know about a work of mine you own it. There's no way I can climb inside somebody's head and remove it.

In my eyes, making art is very often about something that you don't know.

Skills come with age, but wisdom, I doubt it very, very much.