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.

In my early work I didn't use much colour. I had no confidence about how I could do this.

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.

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

Usually people start with painting and then go on to make installations; my painting came from installation.

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.