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.

It's just that some things more important for this and less important for that, and this is true regardless the style of the art.

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.

The first exhibition that I used bright colours in painting the room was at a gallery in Paris, and there were seven rooms in the gallery. It was very nice gallery, not very big rooms, around the courtyard, it was a very French space. So I painted each room in different colour. When people came to the exhibition, I saw they came with a smile. Everybody smiles - this is something I never saw in my work before.

'Understanding' art is like having a sense of humour - if you don't have one, no amount of explanation is going to make you laugh.

It is very important to develop the thing that you are naturally good at, that you are truly interested in.

[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.