In the studio, it took me a long time to work out how to make paintings that had the intensity that I was able to create by painting whole rooms. There is a very limited number of colours but there are many variations. I decided to use the purest palette that I could.

At the Summer Exhibition, I didn't really change anything; it's the same exhibition. All I changed is the presentation. I didn't really change the rules.

I would never put a sculpture in front of a painting, so that it is difficult to see the painting. I always place each thing so you can see it isolated. You can focus on every individual work.

I came to painting through sculpture, to images through objects. I think that images sit in the middle, somewhere between objects and words.

I greatly admired him as a teacher I didn't teach the same way as Josef Albers at all.

When I was teaching I often said to students that you are trying to be too creative, don't be too creative, because there is so much already in what you are making, you don't need to do very much. You just need to do a little bit, and that is a lot.

The first exhibition that I used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the exhibition, I saw they came with a smile. Everybody smiles - this is something I never saw in my work before.