There was something really wonderful about being able to feel confident about doing my first exhibition in China, that people would have no trouble recognising the images and understanding my work. I also have a lot of freedom in the way I use colour, and I think that kind of freedom in colour is also understandable in every culture.

When I look at the objects that I draw, it seems to me so obvious about the contemporary world - these are our world.

I thought the objects we value least because they were ubiquitous were actually the most extraordinary.

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] don't want people to see it [paintings] as a specific intention on my part. If somebody has that interest in these objects, of course they can see that, but from my own point of view, I'd rather stay as neutral as possible.

It's important for me to give each thing the possibility to speak and also to allow artworks speak to each other.

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.