If I did not love the things that I do, how could I spend my life doing this? You have to invest what you spend your life doing with pleasure.

[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.

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.

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.

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

When I started teaching in the late 60s, in a time of student revolutions and changes, they changed in question of society and authority.

You can't honour someone by copying them or trying to be exactly like them.