If things are too similar, the dialogue is not very interesting. If you put in contrast, big and small, abstract and representational, you set up the possibility of a discourse.

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.

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

In the period of '60s to the '90s, British art schools were small, and the number of student was small. The personal contact was great.

There is a complete difference between art and the art market. Prices are high now for the simple reason that there are people are willing to pay them. The market dominates the art world today because at the moment collectors call the shots. Like everything else that won't last forever.

The Royal Academy Summer Exhibition is very difficult to hang because it is so large and the quality is very varied. There are 1,200 works, an almost impossible number, some are interesting and some are not.

I do think I paid a price as an artist, and I am trying to make up for it now - I work six days a week in the studio, and I've never been happier.