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.

I had my exhibition of paintings first in Shanghai, and then recently in Wuhan. Wuhan particularly interested me, because I am 1/8 Chinese.

When I was invited to go to Wuhan, I didn't know anything about it, so I looked up the Wikipedia about Wuhan. I discovered that part of Wuhan used to be Hankou, and then I realised that my great grandmother came from Hankou. My grandmother and father were both born in Hankou. Of all the places in China, it is the most amazing place to have asked for my exhibition. I needed to go back where my family comes from!

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.

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

When I was a very young student I loved and admired the work of Sam Beckett, who is famously pessimistic, and whose writing is an extraordinary examination of emptiness. I wanted to be like Beckett. I don't have the same attitude toward the world, I'm naturally optimistic, and so of course I could never be like Beckett. You can't force yourself to become like someone you admire.

For many years I hoped to have an exhibition in China, because of my family connection.