I think it's a waste of time to worry about the motives of why people are supportive of things. I think we should look at the thing itself. And if they're supportive of something that's sexist or racist, then it's a bad thing, but it's not because they're supportive of it that it's a bad thing.

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

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

In the digital world we live in, there is no pixel who thinks they're better than any other pixel. And there is no pixel that will not work with another pixel to produce something. And when two pixels come together and have children, they'll place any attention to what the color is and nobody says anything.

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.

We were brought up in a world which was based on Aristotle. Science-wise and everything, that's really quite exciting and you learn a lot. There was one problem: there were parallel realities. And in a parallel reality, there's always one reality that's the prime and the second is always a secondary. And everything's a reflection of something else.

I'm keeping everything on a human level, but essentially everything in our lives has to be on a human level. Any specification of something by art history doesn't make any sense. The point is, if you have a loving, adorable, supportive mother anywhere in the world and you tell her all of your dreams, all of your aspirations, and the reward you would like, and she understands you, then it's not worth doing.