You can see in my paintings, I've taken away the context, I've taken away the shadows, I've taken away expression, I've taken away the personal, and yet so much remains!

When I go to China I see many artists whose work reflects on aspects of contemporary popular culture but obviously the history of Western art is not part of their own tradition.

I was poorer than anyone I'd ever met. But it was a great time to be a young artist - I remember it as a period of exceptional creative freedom and adventure, when one was regularly presented with works of art unlike anything one had ever seen before.

I wanted to make new works of very contemporary objects, which I thought was interesting because many of them are manufactured in China, but these objects are universal, they go across all languages, all cultures.

[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.

Usually when I go to the Summer Exhibition, I think every room is too much the same, and I loose my capacity to look at individual works.

I greatly admired him as a teacher I didn't teach the same way as Josef Albers at all.