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.

You can take things from the past, from the culture, from the immediate past and things that have not yet entered the culture, so they have no history yet. You can create your own context.

Often people do not properly value things that they are good at naturally because they find them too easy. That is very problematic.

For example, in England, we teach about Expressionism, but it is not the same in England as it is in Germany, because Expressionism is more important in the history of German art. So although it is the same history, the emphasis is different.

My idea for every exhibition is we should be able to see every individual work without being distracted by the others, and it doesn't matter if it's quite crowded.

I had been doing wall drawings, but they were always black and white. Then in 1993 I painted all the walls of a room to make an installation and as soon as I saw the colour on the walls, it changed my whole life.

In the late 70's I started to make drawings of the ordinary objects I had been using in my work. Initially I wanted them to be ready-made drawings of the kind of common objects I had always used in my work. I was surprised to discover I couldn't find the simple, neutral drawings I had assumed existed, so I started to make them myself.